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Welcome to the start of your best year yet! It’s the time of year, in magazines, on TV, in adverts, outside the gym, when everyone is berating you for doing too much of this, not enough of that, no stop it you’re doing it wrong, do it like this. Come on, we just got through Christmas relatively unscathed (or maybe slightly scathed... by relatives), give us a break! So I don’t want you to come to this first Writing Magazine of 2019 with a heavy heart and weighed down by expectation. Yes, we’re overflowing with New Year enthusiasm and 100% confident that this will be your year, but success is defined on your own terms and we’re happy just to help you define them. Yes, we’ve got ideas for improving your approach to writing, strengthening your abilities and getting all your projects organised, but nobody is keeping track or measuring off your progress against some mythical Perfect Writer. Do as much or as little as you feel is necessary. Stick to your tried and tested methods if they are already working well for you, or throw everything out and start afresh. It really doesn’t matter, as long as you’re writing and happy with how it’s going. We’re here to give you the ideas and tools to make a change if you want it, and to keep that enthusiasm topped up if you don’t. So don’t get sucked into the January doldrums. Stay positive and keep writing. Celebrate your successes, whatever shape they are, and we’ll be celebrating with you.
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p12 FARHANA SHAIKH Farhana Shaikh is a writer and publisher born in Leicester. She is the founding editor of The Asian Writer and Dahlia Publishing. In 2017 she won the Penguin/Travelex Next Great Travel Writer competition. More recently she has been longlisted for the Thresholds International Short Fiction Feature Writing Competition and the Spread the Word Life Writing Prize. She tweets @farhanashaikh
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CLARE COOPER
DR ALEXIA CASALE
Clare Cooper worked in the fiction department at Woman’s Weekly for 29 years. As deputy fiction editor, she was responsible for reading, critiquing, choosing and editing short stories for Woman’s Weekly and its monthly Fiction Special spin-off. She is an avid book and magazine reader, although she can’t yet break the habit of looking for errors. One day, she hopes to write something of her own. Find her at http://claredotcooper. wordpress.com
Dr Alexia Casale is an author (The Bone Dragon, House of Windows), writing consultant and editor. She is also the Director of YAShot (www. yashot.co.uk), a not-forprofit organisation bringing free events to libraries and schools, and offering innovative internships to disadvantaged young people seeking a career in publishing. Find her at www. alexiacasale.com and on Twitter @AlexiaCasale
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IN THIS ISSUE GET IN SHAPE FOR 2019 12 Turning the page WM experts and guests predict what the year ahead holds 22 Writing life: Get writing for 2019! How to give your writing life a full-body workout 24 Writing life: Ten resolutions to help you sell your writing Will 2019 be a good writing year? 42 Fiction focus: New year, new writing habits? Are you stuck in a creative rut? Break your bad habits and revitalise your writing
WRITERS’ NEWS 76 Your essential monthly roundup
of competitions, paying markets, opportunities to get into print and publishing industry news
68 The business of writing: Get your business in shape and fighting fit for 2019
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INTERVIEWS AND PROFILES 16 Star interview: Deborah Harkness Solid research, historical curiosity and the all-powerful ‘what if?’ fuelled Deborah Harkness’s All Souls paranormal romances 20 How I got published: Tracy Darnton The debut YA author switched to writing for a different age group 26 Beat the bestsellers The style and technique of Ray Bradbury
CREATIVE WRITING 36 Shelf life: Jessica Fellowes The cosy crime writer picks her five favourite reads
30 Beginners: It’s all in the mind An idea can be the beginning of much much more
45 Circles’ roundup Writing groups share their interests and activities
38 Under the microscope A reader’s first 300 words goes under our forensic gaze
46 Subscriber spotlight WM subscribers share their writing success stories
40 Talk it over: Go faster stripes Advice for a writer who just needs to crack on
74 New author profile: Emma Morgan The debut author is proof that industry mentoring schemes work
60 Masterclass: A question of identity Exploring a Ruth Prawa Jhabvala story to illustrate creating identity in fiction
96 My writing day: Kimberley Chambers The bestselling gangland crime writer is happiest working the night shift
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66 Fiction: The writers’ roadmap Working out how to get from idea to synopsis? How to plan for the journey ahead.
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CONTENTS
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44
62 ASK THE EXPERTS 56 Poetry from A to Z Our guide through the language of poetry
10 Writers’ voice: Dignity and respect The Society of Authors on its new initiatives to tackle bullying
57 Poetry launch: Just a minute Judge Alison Chisholm launches WM’s competition for minute poems
11 On writing: Arnold Bennett 11 From the other side of the desk Piers Blofeld argues that readers will always fall for storytelling
COMPETITIONS AND EXERCISES
21 Ask a literary consultant Helen Corner-Bryant advises on timelines for publishing a NaNo novel
28 Free range writing Exercises to get you in the mood for National Storytelling Week
65 Behind the tape Insider advice on getting the details right in your crime fiction
31 WIN! Win cash prizes and publication in our latest creative writing competitions
71 Research tips: Music Get tuned in with expert advice on music research
32, 50 & 52 Short story winners Read the winning entries in our latest short story competitions
WRITING LIFE 50 What’s on Get out of your garret for some upcoming activities and places to visit
44 Writers’ circles: Making music Learn harmonious word use from the structure of a piece of music in this writing group exercise
REGULARS
62 Writing for children: Big fun with little kids How to run author events for your young readers
6 Miscellany – The wide wild world of writing 98 Notes from the margin: Where is the mystery cash? Why do writers so often get the rough end of the money stick?
8 Letters – Tips, rants and recommendations from readers 41 Helpline – Your writing problems solved
POETRY 72 Editorial calendar – Ideas for upcoming articles 34 Poetry winners: Congratulations! We salute the winners of our competition for celebration poems 54 Poetry workshop: Love lines Two poems from a reader’s romantic poetry collection analysed
73 Computer clinic – Your tech queries answered 81 Going to market – Essential advice for freelances 87 Novel ideas – Bright ideas for fiction writers
55 Poetry in practice A starting point for a new poem
91 Travel writing know-how – Top tips for travel journos www.writers-online.co.uk
FEBRUARY 2019
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MISCELLANY
THE WORLD OF
WRITING Advice from the best, inspiration everywhere and new ways to win – tips and trivia from the wide world of writing, curated by Derek Hudson
Book blurbs are out of control, suggested Marie Myung-Ok Lee writing for The Millions, a US online magazine offering coverage on books, arts, and culture. Her article was headed: ‘We Need to Destroy the Blurbing Industrial Complex.’ She said: ‘Testimonials of a book’s virtues by other authors, are now so ubiquitous, readers expect them, firsttime authors stress about getting them, booksellers base orders on them. A blank back cover today would probably look like a production mistake.’ It should be noted, she continued, that blurbs are not ad copy written by some copywriter; they are ad copy written by a fellow author. ‘It’s not uncommon for well-known writers to receive more than a book a day “for which we hope you will comment”, ie, blurb. I’ve seen friends’ apartments made small with towers of books, academic colleagues have to do a systems dump, rejected blurb requests piled outside their offices next to a big FREE sign. To put another way, there are around 600,000 to a million new books published per year (depending on what statistics you want to use) but it’s clear this creates a beast that constantly needs to be fed blurbs, which need to be gotten fresh every time.’
Curb the blurb
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Taking notice of notes ‘Everywhere is a library: you just need to browse,’ observed Ian McMillan, the Bard of Barnsley, in his regular Yorkshire Post magazine column, Chapter & Verse. Ian was referring to what he has named ‘found writing’. His interest in the subject ‘dated from the time when someone told me about a note they’d come across when they were walking to their village shop’, and it read: ‘Milkman. One loaf please. PS: make it two.’ He and his informant had different opinions. Ian thought that just as the writer of the note had finished relatives had rung to say they were coming for a visit. ‘His, more interesting, theory was that the writer of the note couldn’t spell loaves, hence the PS: make it two. Ian said one of his favourite notes was something written on a piece of cardboard in a church in Norfolk: ‘PLEASE PLACE NOTHING ON THIS PIANO – ‘It asks you to go and get some nothing and put it on the piano.’ Ian added: ‘These notices and shopping lists are worth looking out for and preserving because they fill your mind with poetic and narrative possibilities.’ ©Des Willie
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MISCELLANY
Picnic papers Food, or the paucity of it – think Cratchit family and Oliver Twist – features a lot in the books of Charles Dickens. A new exhibition will explore how the prolific author used food as social commentary, and how childhood hunger shaped his political views. Food Glorious Food: Dinner With Dickens will run from April 22 at the Charles Dickens Museum (https://dickensmuseum.com), his former home at 48 Doughty Street, Bloomsbury, London, where he lived with his family and held ‘party after party’ with invitations that would have been ‘impossible to refuse’, according to curators at the museum. The exhibition will include a silver fruit bowl given to Dickens in 1870 by a reader and a letter, written by novelist Elizabeth Gaskell in 1849, describing a dinner at his townhouse. Louisa Price, curator at the Charles Dickens Museum, said: ‘The exhibition will show that, when it came to parties and social events, Dickens had an eye on absolutely everything, so concerned was he to ensure that everything was perfect. ‘We have handwritten notes to wineries, lists of contents of his cellar, invitations that would have been impossible to refuse, a note in which he organises the household condiments and a cheque book full of stubs showing evidence of party after party.’ Co-curator Pen Vogler said: ‘Food is everywhere in Dickens’s stories and almost always significant; consider the importance of Pip’s stolen pie in Great Expectations or the “prize turkey” that Scrooge gives to the Cratchits in A Christmas Carol.
Win validated Novelist Kate Atkinson’s proudest moment: ‘My highest point was the first thing I won, a short story competition in a women’s magazine in the eighties. It was the first time I’d had my writing validated, and the first thing I’d ever shown anyone else.’
Ze and Ew make the dictionary Scrabble buffs will have more words to work with now that Scrabble’s official dictionary is being updated, The Sunday Telegraph reported. The new words include: Nduja, ‘Noun, an Italian spicy salami that is soft enough to spread.’ Ze, ‘Pronoun: used to refer to a person whose gender is unknown or who is gender neutral.’ Ew, ‘Exclamation: used to express disgust, or distaste.’ Pluto, ‘To lose importance.’ Yowza: ‘Exclamation: used to express approval, excitement, or enthusiasm.’
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Going from the chippy to the pub
A new play about Bradford writer Andrea Dunbar will be staged in a public house in the city centre. Based on Adelle Stripe’s acclaimed novel Black Teeth and a Brilliant Smile, recounting Andrea’s ‘troubled, brief and defiant life’, it is to be produced by Bradford theatre company Freedom Studios, which has presented plays at Bradford Interchange, the former Drummonds Mill and a fish and chip shop. Andrea wrote her first play, The Arbor, aged fifteen as a CSE English assignment. It premiered at the Royal Court in London and she was commissioned to write a second play, Rita, Sue and Bob Too, which was made into a film by director Alan Clarke. Andrea wrote one more play, Shirley, and died of a brain haemorrhage in 1990, aged 29. Adapted by screenwriter Lisa Holdsworth, who has worked on TV dramas Call the Midwife, Ackley Bridge and Waterloo Road, the play will open at The Ambassador pub on Sunbridge Road, Bradford, running from 30 May to 8 June, prior to a tour. Tickets will be on a ‘Pay What You Decide’ basis. Lisa Holdsworth said: ‘It is both a great pleasure and privilege to be writing this play. It will not only be a celebration of the life, work and unique spirit of Andrea Dunbar, but also of Adelle Stripe’s extraordinary book which brings out Andrea’s humour and bravery.’ FEBRUARY 2019
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TITLE
LETTERS TO THE EDITOR We want to hear your news and views on the writing world, your advice for fellow writers – and don’t forget to tell us what you would like to see featured in a future issue... Write to: Letters to the editor, Writing Magazine, Warners Group Publications plc, 5th Floor, 31-32 Park Row, Leeds LS1 5JD; email: letters@writersnews.co.uk. (Include your name and address when emailing letters. Ensure all
STAR LETTER Encouraging writers
ack
Fine-tune your feedb
I have been ruminating on Chris Clement-Green’s fascinating article about feedback (WM, Jan). If you write ‘purely’ for yourself, you write a diary and never show it to anyone. But if you have an urge to reach a bigger audience – as do all the writers I know, and presumably most readers of Writing Magazine – you must share what you write somehow, at some stage, with others. This might be with family or friends, or with a writing group, or with a potential agent or publisher. Whilst it can be a big mistake to expose your work too early, when it may still be in a formative stage, sharing it can be very useful in helping you to clarify your aims, to recognise your errors and to shape your work better as it progresses. Ms Clement-Green is a little off-target when she says that many writers ‘don’t actually want (feedback). What they do want is praise’. I think that what writers want and need more than anything, is not so much praise – though we all like a bit of that – but encouragement. Good, constructive, insightful and helpful feedback is extremely difficult to give, and criticism, however kindly meant or delivered, can be hard to take. But if it results in encouraging the writer to progress it is worth the effort involved. As a wise old friend of mine says, ‘We live with encouragement. Without it we die.’ ANTHONY DEW Fangfoss, York
g. the benefits of mentorin WM article about and given. featured in a recent best be received, Chris Clement-Green advice for how feedback should up with Now, she follows g that the recipient’s
then fills in follows and the tutor past n the dim and distant any gaps. a police I once worked as ‘trainer’ is be trainer. The word • The feedback shouldn’t using years earlier, by important as five personal. This is helped raw recruit of ‘you’. For when I had been a the word ‘I’ instead desks and were your main myself, we sat behind example the phrase ‘an instructor’. can be seen as front-loaded law by character lacks depth on and, as a Replacing it writer. the But things had moved attacking job to keep the character is a trainer, it was my with, I feel the main what he’s red’ and life flat – I need to know learning ‘student-cent little weekly pass/fail X happens, relevant. Instead of actually thinking when measured by to argue with exams, progress was makes it much harder so this rather than with peer and trainer feedback, someone’s feelings well structured feedback had to be their opinion. experience and and formal. With six-rule structure be received hindsight I feel this • All feedback should NVCs. be applied to open should, and indeed minds could, with open of creative tors such as the giving and receiving Non-Verbal Communica unlikely are especially in a writing feedback, folded arms and scowls : feedback. workshop environment to elicit specific, usable and show interest Instead take notes be very specific said. • All feedback must in all that is being cut it. – ‘good’ or ‘dull’ doesn’t feedback with • Never respond to goes first, stating a thank• The writer always anything other than not so good the clear what was good and you, but this is on Peer feedback about their work.
I
understandin acceptance thanks is not automatic of the feedback.
about what • Go away and think the notes) was actually said (hence was thought and not what you feedback in the said. Consider the can do one of knowledge that you it: three things with
a Ignore it completely. b Accept it completely of it that make c Accept the parts sense to you.
six groundAfter setting out these and receiving rules on the giving also discuss of feedback, I would This is a transactional analysis. in the 1920’s theory put forward in his book The by Dr Eric Berne Transactional Games People Play. how all describes Analysis (or TA) two people interaction between three places: comes from one of (critical or speaking as a parent
e.co.uk
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The star letter each month earns a copy of the Writers’ & Artists’ Yearbook 2019, courtesy of Bloomsbury, www.writersandartists.co.uk
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FEBRUARY 2019
letters, a maximum of 250 words, are exclusive to Writing Magazine. Letters may be edited.) When referring to previous articles/letters, please state month of publication and page number.
What’s in a (pen) name? I was intrigued by the Helpline query (WM, Jan), ‘Is it better to use a pen name when writing a novel?’ I write the occasional factual piece under my everyday name, Sue Weekes, and fiction plus song lyrics as Suzanne Stewart. Stewart is a family name – from a grandmother who was a singer – so there’s a link not only with my songs but my plays and stories, which partly feature musicians. It is psychologically important for me to distinguish between these two pathways in my own mind, let alone anyone else’s. In the folk-rock music area where I have friends, it is quite common to adapt names for performance. One member of my song-writing collective Act of Faith sings as Mark Darkside (original surname Gartside). He also has a drag act persona as Marcia D’Arc. For me, the different name for writing is as important as it is for performers. SUE WEEKES Ashley Down, Bristol
Piles of files I so sympathise with Valerie Griffin: Getting Organised (Letters, WM, Nov). My problem goes deeper in that I can’t find or remember anything filed away, and not just on the computer. I discovered the reason is not that I have an ageing brain, but that I am right-brained. Apparently, I am more creative and artistic than left-brained people, who are analytical and methodical. Many years ago I read an excellent book on the subject of organising for the right-brained which advised me not to put important things away out of sight. This can be achieved. I use little shelf units where I can store loose papers, lots of letter trays – and of course piles of paper on my desk. Because I can’t hide anything important for fear of forgetting about it, these piles are ‘filed’ by putting them at various angles to each other. I always say I subscribe to the Sherlock Holmes method of filing – recognising the importance of each pile by the amount of dust on it. Not ideal for everyone but this has worked for me. I think for the sake of cleanliness and more order and my analytical and methodical husband’s sanity I will adopt Valerie’s approach for all my papers. I would have written this letter a month ago but had lost November’s Writing Magazine as my husband had tidied it away. I ask you! ANN LAMONT Arisaig, Inverness-shire
In response to Julie Mullins’ letter (WM, Jan) I would like to suggest that what she needs is a good writers’ group. That way she would find other writers at various stages of their writing journey, hopefully good advice and support and (not to be underestimated) a discreet kick up the behind if the dreaded procrastination should dare to raise its ugly head. MAGGIE BOLTON Kilmaurs Ayrshire www.writers-online.co.uk
L E T T E R S TO T H E E D I TO R
SCAM WARNING Writers are being targeted by a scam. I had a telephone call last night from a ‘talent spotting agency’ who wanted to sell film rights to my self-published book, Memories of the Second World War. They said they had interest from a film producer and would be able to negotiate thousands of dollars for the film rights on my behalf. They said my book had been selected from a shortlist because it’s so well written, and my characterisation was brilliant (it’s nonfiction and a series of short articles, so alarm bells were already ringing). All I had to do was give them £4,000 towards the cost of a screenwriter to get the ball rolling. They’d pay the rest. Now hopefully readers are not this gullible, but if you’re a sucker for a good yarn and a bit of flattery, be warned, this is a scam! If you get a call from a ‘talent spotting agency’, be very sceptical, don’t part with any money, and treat anyone who suggests you do, with extreme caution. If someone wants to buy film rights to your book, they pay you. Not the other way around. I could hear a call centre in the background, so I believe this is a large scale scam. SUSIE KEARLEY Princes Risborough, Buckinghamshire
COMPETITION CONUNDRUM As someone new to creative writing, I don’t have much of a collection of previously written stories. I would like to enter some writing competitions, but I find it really difficult when the brief is to enter a story on any topic or genre. I much prefer the brief to be specific, where a clear title or idea for the competition story is given, or a particular genre is indicated. This gives me a starting point and something to focus on. I realise I could choose my own topic for a nonspecified competition title, but as a new writer, I seem to spend a lot of time staring into space, trying to come up with an idea. Am I approaching competitions in the wrong way? Do experienced writers choose something from their existing work to submit to a competition, or are they just better than me at thinking of story ideas? GEORGIE MOON Ryde, Isle of Wight
A great help Rarely mentioned in discussions of fitness is the Alexander Technique. This was developed by Frederick Matthias Alexander (1869-1955) after he experienced voice problems as a young actor. Although used by actors and singers today, it also has relevance to writers. Over the years, everyone develops habits which interfere with natural co-ordination, leading to tension, stiffness and bodily stress. The Alexander Technique teaches a skill which helps you to recognise theses habits. My teacher defines the technique in this way; the fundamentals behind lessons are ‘to learn a conscious awareness of the whole self, your mind and body working as one complete unit’. If this sounds rather esoteric, trust me as
a fellow writer – I use this technique and the results are truly beneficial. There is no outrageous physical activity involved – I sometimes practise one of the techniques in the supermarket queue and no-one is any the wiser. It is also used in hospitals. Regular one-to-one lessons are best, but if this proves too expensive, adult learning centres sometimes run day courses. The organisation to contact is The Society of Teachers of the Alexander Technique (STAT). I can thoroughly recommend this, and no, I have no vested interest. PAMELA HIBBERT Crowthorne, Berks
I couldn’t agree more with your go green advice (Novel ideas, WM Nov). I have many wonderful plants in my writing space and not only is the greenery lovely on the eye and the wonderful fresh fragrances useful for taking away the musty smell of a stuffy room, but having to take care of the plants gives ample distraction when you need some thinking time away from your desk. OWEN HOLLIFIELD Bargoed, Caerphilly
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LANGUAGE USAGE I thoroughly enjoyed reading Found in in Translation FounLdATION S by James TRAN McCreet (WM, W Dec), as the topic resonated with me greatly. Never a brilliant linguist in school, I found foreign languages much easier to acquire once I had left the UK and spent time living abroad. While in Japan, I decided to try and write simple dialogues and stories to practice my beginner’s Japanese. When I met a talented illustrator living in Japan, it seemed like a natural idea to turn these stories into bilingual picture books for children – I think it’s fair to say that my Japanese ability was similar to that of a young child. Ben and Maki – Let’s be Friends is the first in what I hope will, one day, become a series of bilingual textbooks that are useful to young language learners. At the very least, it motivates me not to forget all that Japanese I learnt. CELIA JENKINS Corsham, Wiltshire ue her tong of our mot rstanding es McCreet our unde Jam sharpens er writers, says language to be bett another Lear ning teaches us how and
hat could be more stressful for a writer than to have his mother replaced tongue snatched away and The by an unfamiliar language? security, precision and linguistic a lifetime tricks acquired throughout a child disappear and one becomes again, grasping after effective expression in halting tones. year I’ve spent much of the last Spanish. It’s trying intensively to learn European difficult not one of the most many of languages (try Polish!) and familiar. are roots the etymological to write in Nevertheless, attempting being like is language this second infancy. It catapulted back into literary frustrating. be can My It can also be fascinating. a lot about struggles have taught me much my own language and how I’ve I take for granted the tools I’ve realised acquired over the years. that learning another language way from scratch is an excellent with a to re-approach my own The greater, deeper understanding. for lessons are especially compelling beginner writers.
la vela’. On separate words: ‘La luz de is a verb in Words words words the other hand, ‘madrugar’ amount as ‘get I’ll admit it: there’s a certain Spanish that we might translate many of pride in discovering that up (very) early in the morning’. exist in as writers, English words simply don’t My lesson has been that, that English other languages. I understand we should be thinking about ‘hop’ Every the Poles have no word for as if it were a foreign language. one leg’) (you have to say ‘jump on should be based choose we word have well as its and some European languages on its precise meaning as ‘wink’ or no differentiation between possibilities. A lazy or of spectrum the body is as good ‘blink’. There are parts of thoughtless choice of word – or exist in English that don’t exist as a mistranslation. in other with different meanings – languages. ‘Garganta’ in Spanish order! Order, specifically different translates as ‘throat’, but Different languages have than the the adjective the inside of the neck rather rules of syntax. Typically, (and soft skin of the exterior. comes after the noun in Spanish rules of Writing in a different language adjectives must adhere to each position of forces us to carefully investigate gender and number). The mean noun or adjective. Does it can sometimes seem almost mean? Does pronouns sentence exactly what we want it to algebraic. The result is that What if it have other connotations? structure is often highly counterbeautiful seem clear in that the English word sounds intuitive. Thoughts to be looped to our ears but the corresponding the native language have ugly or language. second-language word seems second the in or reversed has too many syllables? It would be easy to get irritated but When we’re obliged to start at such wilful convolutions, become found in thinking in this way, we there’s fascination to be foreign more attuned to both languages. the unfamiliar puzzles of seem in a For example, English may grammar. We have to read precision of to have the advantage of different way. A direct translation beside me: and adaptation in word formation: the sentence in the letter as five ‘candlelight’ in Spanish exists www.writers-online.co.uk
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Dignity and respect The Society of Authors has backed initiatives to tackle bullying and harassment in publishing and the creative industries. By SoA chief executive Nicola Solomon and head of communications Martin Reed
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n interesting thing happened in October 2017 when the Harvey Weinstein scandal exploded in the media. As outrage about Weinstein’s actions sank in, everyone questioned how one man could have got away with such behaviour for so long. The uncomfortable truth was that the story wasn’t simply about one perpetrator and his victims. It was just as much about a workplace culture that failed to challenge it – a professional ecosystem that turned a blind eye, wrote it off as the price some must pay just to work in the film industry. And it wasn’t only about Harvey Weinstein. It was about all of us in every industry, in every workplace – how we choose to interact with each other, the behaviour we witness, what we fail to challenge. A year ago, The Bookseller published a survey on the sexual harassment of people working in the book industry, finding that more than half of respondents – including authors, booksellers, agents and publishers – had experienced harassment at work. Its publication set a major challenge to explore ways to ensure a safe environment in which everyone can work with dignity and respect
– to address concerns not only about sexual harassment, but all behaviour and conduct within the industries in which our members work. Throughout 2018, we have been working with three other book industry trade bodies – the Association of Authors’ Agents, The Booksellers Association and The Publishers Association – to better understand the issues and to create a cross industry code that will work for everyone. We have also engaged with the screen industries since so many of our members also write for film, broadcast and other media.
Some principles A key part of that work was the publication of a book industry-wide Commitment to Professional Behaviour on 7 December 2018. Its key principles are: 1 We in the books industry support creative expression and the freedom of speech. However, our creative realm is also a professional one and we expect high standards of behaviour from everyone we encounter in the course of our work, including colleagues and customers. 2 We will protect the passion, imagination and creativity of everyone in the books industry. We will celebrate and promote diversity and inclusion
so that all voices can be heard. 3 We will recognise our influence and make a commitment to work together to prevent abuse of power, creating a work environment free of discrimination, sexual and other harassment, bullying and intimidation. 4 We will ensure that everyone in our industry is treated with dignity and respect so that individuals are supported and able to speak out. You can download the full text of the Commitment from www.societyofauthors.org/ About-Us/Dignity-respect And we have also become signatories to the British Film Institute’s initiative to prevent bullying and harassment in the screen industries. But of course, any meaningful work must be about more than words alone, so we’re treating our work today not as an endpoint but a milestone in ongoing culture change across the books industry. If we can share, repeat and embed these core values, we hope to ensure not only that everyone we work with is clear on what constitutes appropriate behaviour, but also that we can foster working environments where anyone, regardless of role, is treated with dignity and empowered to speak up when they feel our values are not being honoured.
In practice – what it means for you The best way to embed these values in our work and culture is to keep talking about them and to listen to the views of the people they’re designed to work for. Performance poet Kate Fox told us she feels it is: ‘Valuable for organisations large and small to have clear codes of conduct inspired by these principles with clear signposting for how people can report bullying and harassment. As a freelance poet without HR departments to rely on, it’s really not too much to ask that other people have my back in my workplace.’ At the Society of Authors, we have strengthened and clarified our internal guidelines and policies for employees and members to ensure anyone who becomes part of our professional community finds themselves in a respectful, considerate and professional environment. We are nurturing a culture where everyone, regardless of role, is empowered to challenge and report bullying, harassment and other inappropriate behaviour if they witness it. We are also putting into place processes which enable us at the SoA to act as a trusted intermediary. if a SoA member contacts us with a complaint about bullying or harassment outside our control or environment but within our associated industries, we can support them and, if necessary, act as a trusted intermediary on their behalf. If they wish to remain anonymous, 10
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we may help to bring a complaint to the attention of an employing organisation, especially where we are made aware of multiple complaints about the same individual. It isn’t only corporate environments that can benefit. Being clear about acceptable behaviour is every bit as important in critique groups and live fiction events for emerging authors as in the corridors of the big publishers. So, do please share the link to our Dignity & Respect page below – talk about it and what it might mean to the writing communities that you are part of, the events you participate in and the publications you send your work to. As scriptwriter Elizabeth-Anne Wheal said: ‘We’ve done a lot of talking about this critical issue, so it’s encouraging to see our industry making this commitment and taking a firm step in the direction of real change. Bullying, harassment and abuses of power of all kinds have been embedded in the creative industries for far too long and what we’re doing now makes explicit our individual and collective responsibility to act to prevent it. But let’s be clear – this is a beginning, a call to arms. The real work is yet to be done.’ Here’s to a thoroughly successful, dignified and respect-filled 2019. For more info: www.societyofauthors.org/About-Us/Dignity-respect
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AGENT OPTIN I T LIO E N
On Writing
From the
OTHE R SIDE OF THE DESK
Tony Rossiter explores great words from great writers
From the other side of the desk No matter what the technology, readers always fall for the magic of storytelling, says Piers Blofeld
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Pic credit Giovanni Giovanetti/ Effigie/Writer Pictures
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“The Clayhanger trilogy is good … the scene, for instance, where Darius Clayhanger dies that lingering death could scarcely be bettered … And why?… Because I took infinite pains over it. All the time my father was dying, I was at the bedside making copious notes.” ARNOLD BENNETT
ow there’s a thought-provoking quote. Obviously not a modest man, Bennett was not afraid to blow his own trumpet. But how many of us would have the nerve or the emotional detachment to sit at the bedside of a dying parent, making notes? It’s an extreme example, but it shows how a writer can make good use of a personal life experience. When he came to describe Clayhanger’s death, Bennett’s close observation of his father’s last moments – and the notes he made – enabled him to write with authentic detail. Writing about a very painful personal experience may perhaps have a therapeutic effect; but that doesn’t work for everyone – we’re all different. If you’re a writer, however, every experience, whether painful or pleasurable, is grist to the mill. Whether you write fiction or non-fiction, your writing will be informed, consciously or subconsciously, by everything about you – your upbringing, childhood experiences, teenage years, education, interests, loves, hates, enthusiasms, likes and dislikes, books you’ve read, films you’ve seen, music you’ve listened to, TV shows you’ve watched, radio broadcasts you’ve heard, holidays you’ve had, work experiences, your friends, the people you know, the colleagues you’ve worked with, places you’ve visited, museums and art galleries you’ve been to, successes, failures… the whole shooting match of life. Chances are, you’ve had lots and lots of experiences that you have never recorded or written about. Memory is a strange thing, and as you grow older it’s sometimes easier to remember incidents from your childhood than it is to remember what you did yesterday. So we all have an enormous stock of material – a treasure trove – that we may be able to dredge up and use in our writing. But if you’re a writer, you also need to use your presentday experiences. It’s sensible to always carry a notebook. You might not want to record something as painful as a death, but jotting down little observations, thoughts, incidents, bits of description, snippets of conversation – anything that strikes you as interesting – can provide raw material for your writing.
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few years ago I attended a publishing hackathon – a Silicon Valley term for a tech brainstorming session – in which various groups from both the publishing and the technology industries spent a day trying to come up with dynamic new ideas to take publishing kicking and screaming into the 21st century. At the end of the day, the consensus was that audiobooks were the future and I have to say that I scoffed a little. Not only were audiobooks not new, but I simply couldn’t see them becoming anything more than a niche. I’m here to if not eat my hat, then eat part of it at least. Audiobooks have been one of the big stories of 2018. Audio rights for some books (mostly classics) have been selling for huge sums in the US – getting into seven figures. For digital natives, who rarely have their headphones out of their ears, consuming books aurally is an entirely natural thing to do – and of course a brilliant way of occupying the mind while doing more mundane tasks. I love it, it’s as if everyone has discovered the joys of being a Radio 4 listener. I also derive quiet satisfaction from the fact that audiobooks have of course been around for decades and before that, the pleasure of being read to, of being told a story stretches back to the dawn of history and a time before books. There was a time when people in publishing became terribly excited about ‘enhanced’ ebooks. How great they thought if, say, one was reading a Poldark novel to be able to click on a link and see photos of tin mines or hear some folk music from the period. How could that not enrich the reading experience? At the other end of the spectrum people developed reading apps which meant that as one’s eye stayed still, words were whisked past them at a rate which allowed one to read a book in minutes where before it would have taken hours. Both missed the point about books and about reading, which is that it is all about the mind’s eye – the way in which books, magically, fire our imaginations. One never feels so alive, so clever and so creative as one does when one is really in the thick of a book that one loves. An entire world is brought to our senses and it is impossible to enhance or make more efficient. And this is why books have proved so uniquely resistant to technology. Yes ebooks are a thing – but the evidence is now clear: all else being equal, most people would much rather read a paper book than an ebook. But ebooks are a great and handy addition to our ability to read in a way that suits us. Likewise audiobooks, which once were things that I, at any rate, only engaged with on long car journeys. Digital technology allows for a far more flexible approach which does enrich our ability to derive value from our books – we can put down a book and go and catch the train to work but keep ‘reading’ the book with our ears as we walk. It’s magical, and what makes the magic so real is that it is grounded in that most intensely human of experiences, that of being told a story.
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PUBLISHING
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What does 2019 hold in store? Writing Magazine experts and guests share their thoughts on publishing in 2018 and predictions for the year ahead
Phoebe Morgan Morgan, author and senior commissioning editor, Avon Books Many of the trends that began in 2017 continued into 2018, particularly following the huge and ongoing success of Eleanor Oliphant is Completely Fine. This break-out hit has added to the growing trend termed as ‘up-lit’ by publishers – uplifting fiction that leaves the reader with a warm and hopeful feeling when they turn the last page. Similar hits this year included One Day in December, a Christmas book which has stormed the Kindle charts over the last few months and is being billed as ‘the novelistic version of Love Actually’. More and more, people are searching for characters to truly engage with, love stories to root for, and quirky, original books that give the reader a sense of community and connection in a difficult world. Another thing we’ve seen a lot of in 2018 is popular non-fiction – from Adam Kay’s This is Going to Hurt to The Tattooist of Auschwitz which is a fictionalised version of an all-too-true story. I highly recommend Kay’s hilarious diary of what it’s like to be a junior doctor working in the NHS – if it wasn’t on your Christmas list then rectify the situation! Looking ahead to 2019, I’m personally excited to publish some brilliant new novels – particularly Through The Wall by Caroline Corcoran and Our Stop by Laura Jane Williams. Both books have connection at their heart, and are about protagonists struggling to deal with the loneliness of the world. I think at the end of the day, all of us are looking for that sense of belonging, and I think the big books of 2019 will speak to that very human need. We are currently still open to unagented submissions at Avon Books (part of HarperCollins) so do visit our website if you’ve got a novel waiting to emerge in the new year.
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Nicola Solomon, chief executive, The Society of Authors 2018 delivered the depressing if unsurprising news that author incomes continue to fall. ALCS’ survey found that the median annual income of a professional writer is £10,500, which is well below the minimum wage and down by 42% in real terms since 2005. It was therefore fitting that 2018 Man Booker Prize winner Anna Burns chose to highlight her own financial difficulties, using the acknowledgements in Milkman to thank her local food bank, various charities, the SoA and the DWP for their support. We should all be concerned about the fact that writers are struggling to make a living from their work. If this trend continues, writing will become the preserve of a privileged few. New voices, working class voices and diverse voices will be discouraged from pursuing writing as a career, and the opportunity to grow our readership base will be lost. At the Society of Authors we continue to work to improve this situation: whether through campaigning against benefit cuts for the lowest paid in the form of Universal Credit, advising authors on their contract terms with publishers or lobbying MEPs to support improvements to copyright law. Of course the spectre of Brexit looms over everything. We have been raising our concerns over the key Brexit issues affecting writers, such as copyright, free movement and EU funding. But it’s not all bad news. Public Lending Right (PLR) was extended to ebooks in 2018 and the Government dropped planned changes to National Insurance Contributions that would have hit low-earning authors. The SoA administered and distributed around half a million pounds in prize money and grants to help authors buy time to write. The publishing industry grew by 5%, exports by 8%. It’s clear that the public’s appetite for reading is not waning: as long as more effort is made to pay writers their fair share, we’ve no doubt that the industry will continue to thrive.
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PUBLISHING
Helen Corner-Bryant, director, Cornerstones Literary Consultancy I’ve been hearing a lot from the trade that the search of the moment is for ‘uplit’ novels. What exactly does this mean? In the face of world events (and those closer to home), people want pure escapism. Feel-good books with heart, compassion, and kindness, which should not be confused with the saccharine. These stories can feature tough themes that declare that you can fix your life, even if it seems broken. Books about kindness, people, and community, with real issues. Books that reach out to diverse, underrepresented minorities. A number of leading publishers are working hard to respond to this both in their recruitment and acquisition briefs; for some, there’s even talk of opening up regional offices. Female-led novels with exploratory, aspirational characters and adventure are huge in both book and film. Then there’s the safe spook, female gothic, and spine-chillers. Rom-coms are the next big thing in film, with a crossover romance influence in books. Thanks to Netflix, we’re currently experiencing a bloom of original young adult stories. Romantic fiction and historical, including the Regency era and timehonoured World War I and World War II, remain popular. Children’s fiction and the YA sector both continue to grow year on year. Nonfiction, guides, and manuals: a return to nature, self-sufficiency, and a responsibility to the climate should be on our lists for 2019 and beyond. And finally: has the appetite waned for psychological thrillers? For a number of years, the trade has been predicting a slowing down, though the book buyer’s appetite has said otherwise. However, the genre finally looks saturated unless a high-concept story can successfully twist the genre, encouraging us to root for its characters. Above all, and more than ever, pure escapism in fiction is key.
Farhana Shaikh, managing editor, Dahlia Publishing, and editor, The Asian Writer There’s been a renewed impetus for change across the industry this year. What has been particularly welcome are the grassroots initiatives which have called for better representation of marginalised writers, including working class voices. The hope is, that publishers follow suit in coming years and take radical steps to diversify their workforce, in particular, their senior leadership teams. This is crucial for any changes to be long-lasting and to send a clear message across the industry that publishing is moving with the times and is confident in managing the uncertainty that lies ahead. The small presses have continued to shine in 2018 and my hope is that we are no longer seen as a mere stepping stone for writers but are able to retain the talent that we work so hard to find and nurture. For that to happen, it means that we need to be in a strong position to be able to negotiate better terms with booksellers and possibly forego selling on Amazon. The Northern Fiction Alliance promises to strengthen the reach and impact of northern publishers and I’ll be watching closely to see how we can model this in the Midlands. My plans for next year are to focus on running The Middle Way Mentoring programme, an Arts Council England funded project, which will support seven Black, Asian, Minority Ethnic writers from across the Midlands. It’s an exciting time, most of all because the first titles from Penguin Write Now scheme are set to be published. I’m particularly excited about Emma Smith-Barton’s debut novel, The Million Pieces of Neena Gill – a writer I’ve had the pleasure to publish and work with through The Asian Writer. I’m hoping that the success of these debuts will open the doors for riskier, diverse stories to be commissioned in the near future.
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Alexia Casale, author and director, YA Shot festival After years of growth, figures presented at the Bookseller Children’s Conference showed that sales of children’s and young adult books dropped 4.7% due to a staggering 22% fall in YA, despite slight growth in children’s overall: a global pattern. YA now represents just under a fifth of the children’s market. Film adaptations continue to prove popular and good for sales. The top four bestsellers were all American imports, partly due to the continued drive for fairer representation, particularly of black and minority ethnic authors and characters: two are by women of colour (Angie Thomas and Tomi Adeyemi; Thomas’ book was inspired by the Black Lives Movement) and another is a gay love-story (Simon versus the Homo Sapiens Agenda). Their success shows that readers want diversity in the true, rather than tokenistic, sense: they want to see a range of people writing a range of books about a range of lives and experiences. Given that only 4% of UK children’s books published in 2017 featured BAME characters, it’s unsurprising that readers are looking to America. With UK publishers buying less YA, many authors are diversifying into Middle Grade and adult. Holly Bourne’s How Do You Like Me Now? was an instant bestseller, while CJ Daugherty now writes crime as Christi Daugherty (The Echo Killing); Sarah J Harris, Ruth Ware and KJ Whittaker also started in YA. Catherine Doyle’s MG hit The Storm Keeper’s Island taps into both the continued thirst for fantasy and the current interest in retellings of myths (Maz Evans’ Who Let The Gods Out), legends and folktales. 2019 will see publishers looking for more ‘uplit’: heart-warming stories with a humorous edge like Vanessa Jones’ Sing and Holly Bourne’s We Are All Lemmings and Snowflakes, which meets another key trend – encouraging teens to become politically engaged, as in Karen Gregory’s Skylarks (third novel out 2019) and Sally Nicholl’s Things A Bright Girl Can Do. Watch out for Sara Barnard’s Fierce Fragile Hearts and Holly Smale’s The Valentines in February, a new Alwyn Hamilton (Faber Children’s), Laura Bates’ The Burning, Aisha Busby’s debut, Holly Jackson’s intriguingly-titled A Good Girl’s Guide to Murder and anything by Katherine Rundell.
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PUBLISHING
Alex Gazzola, freelance journalist Chillingly, the media have been referred to as ‘the enemy of the people’ in 2018. And make no mistake about it: you don’t need to be a news or political journalist to be part of the media. If you publish any form of non-fiction – you’re the media. If you write a factual blog – you’re the media. This is an attack on us all. It’s our duty as writers to continue to address this lie, not merely by denying it, but by demonstrating its falsity through what we do best – writing. Despite the downturn, market opportunities are still out there, but editors won’t pay for ‘same old same old’… So, resolve to find out truths that are little known. Challenge your own biases and beliefs. Speak to recognised experts. Show you’re committed to helping people – either with their problems, or with information they find difficult to obtain. Persuade readers that there is something they should know, and then tell them what it is. Facts, not opinions. I see many aspiring writers wanting to break through, and that’s promising for the year ahead, but many seem keen only on oversubscribed subjects, such as ‘wellness’, beauty, football or fashion. Want to stand out? Develop a niche. Years ago I started to specialise in allergies, and now find myself writing increasingly about rare allergies, a niche within a niche. This is the way I see things continuing to move in 2019. There are evolving topics high on the public conversational agenda currently – plastic pollution, trans issues, parasports, anxiety / mental health, equal pay – which are calling out for freelancers to specialise in them. Explore them, and write articles about aspects of them. Editors will notice. Readers need to learn more about these subjects. You are their friend, not their enemy.
Alex Davis, author, editor and small press publisher It’s become all too common a refrain to say ‘it’s not a good time for horror’ – in the mainstream press, at least. While the independent press scene continues to churn out superb dark fiction with dependable regularity, the Big Five haven’t really approached horror with any great relish – until now. 2018 feels like a significant year for the genre, with the genuine emergence of a new wave of leading writers in the field. The talent has always been there, without a doubt, but now there are numerous authors having breakthrough books this year. Paul Tremblay’s The Cabin At The End of World was a hot topic in and out of horror, while paperback releases of Laura Purcell’s The Silent Companions and Victor LaValle’s The Changeling both won significant audience and critical acclaim. Throw into that new titles from the likes of Josh Malerman (Unbury Carol), Grady Hendrix (We Sold Our Souls) and a sterling debut from CJ Tudor (The Chalk Man) and I can genuinely look forward to horror being a growth area in 2019. What’s also very encouraging is that publishers also seem keen to avoid the mistakes of the 1980s boom in horror, selecting their work carefully and focusing on a handful of quality writers rather than saturating the market as became the case throughout the nineties – something the genre is only now getting over within the major presses. This should give much more scope for organic growth and might also allow opportunities for the very best of the small press to get picked up by the Big Five – something we’ve already seen recently with Andrew Michael Hurley and Joe Hill, and I feel we could see more of in 2019.
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Amy Sparkes, children’s author
The most interesting thing to happen this year in the magical world of children’s books is the CLPE report on diversity. It was revealed that only 1% of children’s books published in 2017 had a BAME main character. As a result, calls have gone up to not only encourage the inclusion of BAME characters and the contributions of BAME writers, but also to encourage more representation in children’s books generally. Areas like disabilities, gender and sexuality are under-explored in children’s fiction and it will be interesting to see how they develop in 2019. Read more about the CLPE report here: https:// writ.rs/clpereport Apart from the above, what will publishers and agents be looking for in 2019? As always, the unexpected. If your story is quirky and original, don’t change it to shoehorn in agenda items you feel you should include. Be true to your story and it will work far better. Humorous books will always go down well; in the bleakness of world politics, there is always the need for a little light and laughter. The ripples from children’s books extend into the wider world, so if you have a funny book up your sleeve, now is a good time to write it. Thought-provoking, sensitive picture books have been popular in 2018. Teachers have been very active on social media, looking for books about being different, which encourage empathy and appreciate diversity. It’s been wonderful to see such positivity and proactivity in the world of children’s books. May it continue into 2019!
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OcCuLt HiT LISTEN TAP HERE To hear an extract from Time’s Convert
Solid research, historical curiosity and the all-powerful ‘what if ?’ fuelled Deborah Harkness’s All Souls paranormal romances, she tells Tina Jackson
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n the way to meet Deborah Harkness in an exclusive West End hotel, there just happens to be a bookshop specialising in magic and the esoteric. And WM just happens to drop in, to peruse shelves packed with rare and unusual books on mysterious subjects. It is exactly the sort of shop where you might find, for instance, a visiting scholar whose specialist subjects are alchemy, magic and the occult. Or, even, perhaps, the rare magical book from A Discovery of Witches known by its catalogue number: Ashmole 782. But although
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Deborah Harkness would be perfectly at home in this emporium of arcane curiosities, it doesn’t sell fiction, and so her bestselling paranormal historical fantasies are not to be found. They’re available in a lot of other places though, even more so since the first and best-known of them was adapted for a blockbuster TV series. If you’re a fan of vampires and witches (ie, most of us), chances are you’ll have been intrigued by the first series of A Discovery of Witches, and glad to know that two more seasons have been commissioned. Chances are that if your reading life takes in vampires and witches you’ll have
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been engrossed in the All Souls trilogy ever since A Discovery of Witches was published in 2011. And delighted that Deborah Harkness recently published a fourth book, Time’s Convert, that revisits the All Souls characters. Just as her paranormal characters blend seamlessly into the everyday world, Deborah is a worldly presence, at ease in the luxurious hotel surroundings. It doesn’t take much, though, to get her, a history professor at the University of Southern California, avidly discussing the things she is really passionate about. Having told the story of timetravelling witch Diana Bishop and vampire Matthew de Clermont in the All Souls series, Deborah had to decide which part of history to visit for Time’s Convert. ‘Back when I finished the All Souls series in 2014/5, I’d done what I’d set out to do - told the story of Diana and Matthew and [magical book] Ashmole 782. I’d done that rare thing: I’d written a three-book trilogy. Readers asked for more and I wasn’t sure I could give them more – it was a story in three parts and I’d told it. So it was, how could I go back into that world? To take the narrative forward and also look backwards at it? So I’ve come up with this and I hope I’ve fulfilled my role as a writer, to add something substantial and meaningful.’ Time’s Convert picks up the story of Marcus, Matthew’s vampire son, in a wide-ranging narrative that takes in the American and French Revolutions as well as his relationship with new vampire Phoebe. But Deborah didn’t know that when she started writing the book – she let herself be guided by the history. ‘I have a very non-linear process,’ she says. ‘I don’t sit down with a storyline. I bat ideas around until I find one with the right energy. I hit a few snags with this one – I thought for ages it was going to be about Matthew. It was an organic process. I have “aha” moments, like when you open a safe and all the locks click into place. For this one it came about when I imagined what Marcus might have been reading in 1775. I read Thomas Payne’s Common Sense, which has a wonderful line about how time made more converts than men. And I had an in to Marcus’s mind, his character, to create the events that shaped him.’ The Thomas Payne line hooked into Deborah’s own preoccupations. ‘Time
is of particular importance in my stories because as a historian I’m fascinated by the way time can act as an agent of change, as an agent of forgetfulness. That dynamic between forgetting and realising – what gets forgotten, what gets rewritten, what gets discovered.’ Time’s Convert works well as a title for a book that not only goes backwards and forwards in its own time-scheme, but adds to what readers know about the past and present of the All Souls characters. ‘I like to think of Time’s Convert as a prequelly/sequelly book,’ says Deborah. ‘I try to push the story arc of two of the three main (All Souls) characters forward – Diana and Matthew – that’s the sequel part. But to delve into the past it’s the story of the single characters (ie Marcus) so it holds the time continuum in that way. So some people started with Times Convert and then went and read the series, so I did make it so it so it could function as a standalone.
always relevant. That’s what makes these figures so robust. It doesn’t matter if it’s the Renaissance or now, it’s giving you a space to think about these areas of choice and chance and history and the past in ways we deeply crave and need. ‘Since the beginning of time we’ve sensed there was more happening in the world than our five senses could grasp. The world is a complicated place, and we sense, and hope, that there’s more going on than we can grasp. We want to think that there’s a bigger plan, more than we can see. We want to fix what’s broken and control what seems uncontrollable. Vampires and witches and daemons are monsters to think with – characters where we can park our fears and work our way through them. I think we tend to have a very short memory, I’m always surprised when I hear something like “witches are back” – witches never went anywhere.’ With this intellectual backdrop in place, Deborah began writing A
“As a historian I’m fascinated by the way time can act as an agent of change, as an agent of forgetfulness. That dynamic between forgetting and realising – what gets forgotten, what gets rewritten, what gets discovered.” The trilogy is about Diana and Matthew and Ashmole 782 and this one is about parenting and independence and growing up. The trilogy was about discovering who you are and finding your past and embracing the future.’ Deborah’s interest in her characters and their world came out of her academic research into the way people through history have used the supernatural to make sense of the world. ‘I’m a historian of science, with a specialism in occult sciences in the Renaissance. I’ve studied these topics since 1982 so I’m interested in how the human interest in this began. I think it’s www.writers-online.co.uk
Discovery of Witches as a ‘thought experiment’. An exercise in ‘what if?’ ‘As an intellectual historian, much of what qualifies as science, there’s not a lot of data and you have to say, what if?,’ she explains. ‘You have to think about it – so much of the history of science is mental thought experiments – so I’m used to that, where you think of something and try to work it out. So it was, what if these characters we’re fascinated in were real? How would they live? How would they date? How would they feel about their condition? Given the history of witches, part of a marginalised, oppressed, violently suppressed group, that might be something you might FEBRUARY 2019
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not readily embrace.’ Once the ‘thought experiment’ had yielded questions that Deborah was interested in exploring, she began to expand on her ideas. ‘The thought experiment comes from my background as a historian. Historians deal in questions, and you need to ask good questions – we spend a lot of time generating questions. At this stage, the questions felt like historical questions. I went from thought experiments to saying, okay. I asked colleagues about witches practicing in Salem – if any of them were actually likely to have had magical powers – and they said that the only one that might have done was Bridget Bishop. So I thought, Bishop. That was the name. I started making stand-in characters to occupy that space where I could start putting these imaginary beings into motion, into conversation. Once I had them walking, they started talking, and it developed from there. I certainly didn’t have a plan. It was that: experiment – characters – story.’ It hadn’t yet evolved into an idea for a book, but a couple of months later Deborah started telling friends she thought she might be writing a novel. ‘People said, “That’s nice dear,” because a lot of people start writing a novel,’ she laughs. ‘I gave what I’d written to my mother and she’d literally take the pages off the printer as I wrote them. I told my non-fiction agent and he was somewhat horrified and sceptical,
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but he finally read it and said, “You should keep going.” Nine months after I started writing it, I had a full draft. I took the summer vacation and cut 300 pages out of it and he submitted it – one year after the start of my thought experiment.’ Deborah says she wrote it on the hoof, learning how to write a trilogy in the process of writing a novel. ‘I’ve never been able to plot,’ she confesses. ‘My outline was the opening paragraph in A Discovery of Witches. I knew Diana and Matthew would be in Oxford, in 1590s and in the third part they’d return to the present and put forward a new scientific theory about the species. I knew how it would end and how it would begin. I didn’t know the middle. In my inexperience, I thought I could tell it all in one book. That didn’t happen.’ Diana Bishop may be an academic historian, like her creator, but Deborah says it’s a mistake to identify her particularly with Diana. ‘Diana is no more me than any of the other characters. They’re all me. Diana does the things I do, she’s a historian. Matthew has my love of wine. I do think we tend to think female authors identify with their main female characters… is that because we as readers assume that the female author is engaged in some kind of wish fulfilment? I think it might be that first-person point of view, especially when you’re writing a book that’s all about self-discovery
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and self-actualisation in a way.’ Deborah is rare amongst novelists in that she doesn’t read much fiction. ‘I haven’t seriously read fiction since the 1990s. For my job I have to read dense academic non-fiction so recreational reading on top of that is a hard sell. I read a lot. I just don’t read fiction. My job is to stay on top of a vast and growing body of literature, I’m responsible for academic work, and the rest of the time I spend writing. The last big book binge I had was in the 1990s: AS Byatt’s Possession, The Name of the Rose by Umberto Eco, The Mists of Avalon by Marion Zimmer Bradley and Anne Rice’s The Witching Hour.’ It’s easy to see the influence of each of these in her own novels. Deborah wasn’t aware of ‘paranormal romance’ as a genre, let alone intending to write one. ‘I don’t think of them as paranormal fiction. I think of them as fiction. In my world there’s fiction and non-fiction. I don’t think in terms of genre and in the series, my interest was to blur the boundaries between fiction and non-fiction. That’s the only boundary I’m trying to blur. I wouldn’t begin to know where to look for a book in a bookshop. How do you know if it’s romance or horror?’ Whether Deborah intended it or not, though, the epic sweep of Diana and Matthew’s forbidden inter-species relationship piqued the interest of a global readership, and now TV audience, where it provided the main
S TA R I N T E RV I E W
thrust of the drama. ‘The books are able to be much more detailed in a different way – more richly detailed in terms of characters and background. The TV show is visually rich – and expands the point of view in really exciting ways,’ says Deborah. But she does agree that the books are love stories, in more than one way. ‘I think love, unconditional love the kind of love that doesn’t listen to “you can’t” or “you shouldn’t” – that’s where our hope lies. For me, love stories are life-affirming and hopeful. Most of us fall in love against all odds – love is the ultimate survivor. So I’d say the books were love stories, but maybe not the kind people think they are. There are many kinds of love stories in the books. One of the biggest love stories in the trilogy is about people and books. Actually, I think it’s quite easy to fall in love. It’s about staying in love. That’s what Time’s Convert is about. That’s the challenge.’ She wants to create an immersive world where readers can get lost. ‘‘I love chunky books. I like getting lost in a book. I like people – I like to feel I’m inside someone else’s story, I’m in a place and can stay there for some time. I’m a burrower – not eager to zip off for the next adventure.’ Her writing process involves keeping extensive notes on each character. ‘I’m a notebooker. I keep notes in coloured Moleskine journals related to a character or project or story ideas. Marcus’s were burgundy, there were three of them, that’s 750 pages of notes. I write and take notes and everything goes into those notebooks. And then when I have my “aha” moments there are thousands of words. Matthew’s notebooks are black. Diana’s were three journals that look like old bound books. Once I finished with her I moved into the Moleskines.’ Her notebooks need to be hardwearing. ‘I’m quite hard on books. I lug them in bags, I toss them on beds and hard surfaces and wet surfaces because they go everywhere with me.’ Her advice to writers is to keep on going, and be true to the story and the characters in it. ‘Remember every book gets written one word at a time,’ she says. ‘There’s so much advice out there and it’s complicated – but you have to sit there and put a word down.
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“Sometimes people try to out-think their characters so that all the life gets beaten out of them. You just have to take them on, warts and all. Not try to fix them or redeem them. Characters have something they want to say – let them say it.” And then another, And another. Just tell the story that’s trying to get out of you. Not just because it’s a story that’s popular now. You have to write the story that’s trying to get out, not the story that you think should sell. And really be true to your characters. You’re their advocate in the world. Sometimes they do things that are inconvenient, or intolerable – but you have a pact of honour with them. You have to be truthful and honest. Sometimes people try to out-think their characters so that all the life gets beaten out of them. You just have to take them on, warts and all. Not
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try to fix them or redeem them. Characters have something they want to say – let them say it.’ The alchemy that’s Deborah’s specialist academic subject could be a metaphor for the writing process. ‘Alchemy is such a powerful set of concepts to think about the world around you,’ says Deborah. ‘People could see that things change with other things, and how could they explain it? They anthropomorphised change in the real world in ways that were haunting and beautiful, and could be mapped out to extend to anything.’
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How I got
I N S P I R I N G WO R D S
published TRACY DARNTON The debut YA author tells Dolores Gordon Smith how she switched to writing for a different age group to win a competition
‘I
t’s very strange and wonderful when an idea from your head ends up in a gorgeous book with its own ISBN number. My young adult thriller The Truth About Lies was published last year. If you’d told me two years ago that I’d be the author of a book for young adults and a fastpaced thriller at that, I wouldn’t have believed you because at that stage I was working on stories for very young children. ‘When I was little I definitely dreamt about being a writer but didn’t know how to go about it. So my creative writing was sidelined by school exams then studying law and becoming a solicitor. It wasn’t until I was reading with my own children and volunteering in a school library that I started writing again. I went to a group in the local library and built my confidence in a supportive environment. I plucked up the courage to apply for the MA in Writing for Young People at Bath Spa University. Now I had deadlines which gave me the permission to allocate time to writing and I was surrounded by people who were just as mad about YA and
children’s books as I was. We were encouraged to experiment across different genres and ages but I ended up choosing a humorous middle-grade story as my final project. ‘After graduating, I was polishing up my manuscript ready for our course anthology when I saw a short story competition on Twitter. It was run by the publisher Stripes and The Bookseller’s YA Book Prize on the theme of home. A writing brief and a deadline was just what I needed to start something new with a completely different voice. I only just entered in time and thought no more about it until I got the lovely email from Lauren Ace at Stripes telling me I’d won and giving me the judge’s comments. The prize was to have my short story published alongside well-known authors in I’ll Be Home for Christmas. It turned out to be a brilliant experience covering all stages of the publishing process from working with the commissioning editor Ruth Bennett to meeting the varied requests of the marketing team. I contributed to YALC (Young Adult Literary Convention) at Olympia, got my name on the YALC T-shirt, captained a literary quiz team at the festive YA Salon and ate a lot of mince pies. Some of it was scary, often a little random, but I really
enjoyed working with Team Stripes and they got to know me and my writing too. ‘So I was delighted when Stripes then asked me to pitch a YA novel idea. I developed one of my pieces from an MA workshop about a girl who could remember everything. I’d always been interested in memory and it was the chance to explore those issues through a character I loved writing as she is far from sweetness and light. By this time, I had my agent, Jo Williamson from Antony Harwood. She suggested that I switch the setting from California to closer to home and once I’d moved it to a college on Dartmoor so much of the story fell into place. It was a huge amount of work to write a 65,000 word novel in a short timescale. But it was worth it as I couldn’t be more excited to see The Truth About Lies out in the bookshops.’
Top tips • Keep an open mind about where your strengths lie. Try writing for different age groups. • Enter a competition – you never know where it may lead.
Ruth Bennett, editorial director at Stripes Publishing ‘The Truth About Lies is set in a boarding school on Dartmoor. There’s plenty of atmosphere from the misty moorland setting and the intense claustrophobia that can come from a contemporary boarding school. ‘The Truth About Lies achieves what the very best thrillers aim to do – it is a page-turner with a gripping plot – but it also explores bigger questions about identity, memory and trust. It’s common to read books written in the first person in young adult fiction but it’s rare to see a debut author who has the confidence to present a character who is distinct and remarkable, but not necessarily likeable. ‘Tracy’s writing is like Gillian Flynn for a young adult readership – that’s aimed at young readers from about thirteen upwards – and on a par with 20
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the queen of YA thrillers, Sophie McKenzie. ‘The book is targeted at teen readers but would be enjoyed by thriller fans of any age! ‘The Truth About Lies is written in the first-person, so the “voice” we hear is that of Jess, the protagonist. Tracy effectively captures an authentic voice – it is that of a teenager, but one who is unlike other teens. Jess is remarkable – she has the ability to remember every single detail of every single day – and this has made her into the person she is. ‘As a reader, you are drawn to Jess and given a fascinating and compelling insight into her unique perspective. There is no sense of the reader aspiring to be her and this is where Tracy’s writing talent really shines through – you are compelled to know more about Jess even though you don’t relate to her in the traditional sense. ‘I’m glad to say we are currently discussing Tracy’s next YA novel – watch this space!’
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Ask a Literary Consultant
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Helen Corner Bryant advises a writer on getting her NaNoWriMo MS published
Q
I’ve just finished NaNoWriMo and, with the New Year just around the corner, I’d really like to get it published by the end of 2019. Is this possible or am I completely off base? It’d be great to know more about what an author can expect in terms of timelines: how long should it take to edit and submit a book, and how long before I see my book on the shelves?
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Congratulations on completing at least 50,000 words in one month. That’s such a feat, and now it’s time to see what you can do with it. You have your first draft – you should be aiming for at least 70-80,000 words if it’s for the adult reading market – and the shape and structure of your novel will be in place. You’ll be able to see which threads you set up that need developing and which threads need editing out. You’ll have a clear idea of your protagonist’s emotional internal conflict and arc and how that moves the plot forwards (and vice versa) in terms of cause and effect. I’d print out the manuscript and read it through making margin comments. Once you know what’s working and what isn’t you’ll be able to go through it and make revisions. If, for example, you find that your protagonist needs strengthening and you’re having trouble with this then consider interviewing them to get under their skin more. If you’re having difficulty seeing which scenes are necessary and which aren’t earning their keep, you should identify each key scene, bullet point what happens within it, and write these down on cards. Once you have these in front of you, consider if you might merge some scenes, delete some, or move them around to tighten everything up. Check also that the overarching shape can be roughly plotted against the third-act graph – this is an excellent diagnostic tool. Timeline: this process can take some weeks to some months depending on how you’re finding the process and how effective the revisions are. Next, perform a line edit on each page to see if the wordage can be made more active and unique – if the scene can be more ‘show’ – and watch for unnecessary, repetitious telling or internal monologue, which is very common in a first draft. You’ll be checking that all the elements of writing are working: strong, engaging characters with a consistent viewpoint; crisp and evocative dialogue and description; taut pace and tension; and ultimately that it’s mainly in ‘show’ scenes. Finally, try
# 1 TR A N SATL A N TI C L I TE R A RY C O N SU LTA N C Y
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cutting out any word, sentence, paragraph, or scene that is padding and generally not really adding anything new to the story. Timeline: as above. Before you send this out, you should really get some feedback from someone in-the-know as this can boost your confidence, speed up the process, and give you an idea of the novel’s commercial potential, and how to strengthen this. You’ll benefit most from a professional critique: either from a published writer editor or an industry editor who has commissioned books for a main trade publisher. You might want to opt for this type of feedback at line edit stage or after. Timeline: six to eight weeks plus revision time. If you’d like to learn more about how to self-edit and have access to agents at the end of the course try our online course: Edit your Novel the Professional Way. Our next one starts at the beginning of February. Please apply to Helen@cornerstones.co.uk Timeline: five months. You can do this alongside the revisions, as above. When you’re ready to submit, draw up a list of agents and send out to six at a time. Ensure you get a definite turn down from each agent before submitting to a new one. If after fifteen submissions you’re not getting any bites, consider what it is that isn’t working and see if it’s fixable. If, however, you get a manuscript call in and an offer for representation then your agent will guide you. They may suggest further edits or go out to publishers. Timeline: three-plus months. From then on it’s a waiting game with potential further edits down the line. Once you get that wonderful offer on the table, expect to be published approximately a year on from that. Aim to keep your energy levels buoyed and look forward with anticipation. You’ve already come a long way by completing your novel; the rest is down to perseverance, a sprinkling of luck, and finding an agent or editor who falls in love with it. In terms of timelines it’s possible to do all of the above within the year, and also within a few months or it may take a few years. I’ve seen many variations and outcomes and it’s mainly down to how clean the manuscript is and how you approach the process and how quickly the trade react. Whether you’re just starting out with an idea for a novel or you’re at submission stage, the New Year is a perfect time to launch your journey to publication. Why not make that first step and email me with your submission query? Helen@cornerstones.co.uk
The UK’s leading literary consultancy
Cornerstones offered crucial help at a time when I really needed it. Thanks to the team for matching me with the right editor: my manuscript transformed from something that had previously only given me panic into a story that inspired confidence.
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-NYT best-selling author Roshani Chokshi, The Gilded Wolves, Wednesday Books (out 2019)
Structural editing, copyediting and proofreading Scouts for literary agents Listed by the Society of Authors
Call Helen Corner-Bryant +44 (0) 1308 897374 • www.cornerstones.co.uk www.writers-online.co.uk
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GET WRITING FIT FOR 2019! Give your creative life a workout with advice from Clare Cooper Spinning
A
fter the excesses of the festive season,try these light-hearted tips on how to get back into writing shape for the New Year.
Walking and lifting Power-walk your way to your nearest bookshop, remembering to take your Christmas book tokens with you. Now, buy as many books as you can afford. Balance it out by buying an even number and size of books, so that the weight is evenly distributed. As you make your way home, you can congratulate yourself on two things. One: The weight of the books is giving your upper arms a much-needed workout. Two: You can treat it as research but, more importantly, you are supporting your fellow writers and keeping everyone in jobs, from the bookseller to the delivery van driver to the publisher to the editor to their assistant to the cover jacket designer to the printer to the coffee machine vending company to the office cat to… you get the picture. When you do finally sit down at your desk, remember to take regular breaks every hour. Walk around your desk, walk around the room, walk up and down the hallway, walk up and down the stairs but try to resist walking to the fridge or food cupboard more than once every hour. Okay, twice.
Presentation
Toning Your arms and legs are toning up nicely, but there’s another type of tone: your writing voice. Make this the year you develop your own unique tone and style. Remember what Oscar Wilde once said: ‘Be yourself. Everyone else is taken.’ Target your chosen market and do your research on them. Buy a few issues of that publication, go online, look at their website, get hold of their guidelines, study their readership (their Facebook page will be great for this) and don’t give up too easily if you receive a few rejections before you hit the mark. 22
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Don’t get yourself in a spin with words. There is such a thing as overwriting; a common fault seen everywhere. You may think, why use two words when you can use ten? But editors won’t be impressed with your exhaustive knowledge of the dictionary. It won’t help your story along. It will, instead, halt the flow and befuddle the reader. Less is often more. Many consider Raymond Chandler novels to be among the best. Read them to find out why.
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Don’t sweat the small stuff. House styles vary between publications and no two are the same. Your job is to provide the words, in a clear and readable manner, preferably double-spaced, with a word count. Put your contact details on there somewhere and let them take care of the rest.
WRITING LIFE
Bodybuilding It takes time to build the perfect body and it takes time to build a good relationship with your editors. Keep it polite and pleasant; don’t be stroppy or difficult. You won’t necessarily get any more acceptances if you are the former, or fewer acceptances if you are the latter, but who wants a reputation for being awkward to deal with? (Bribes won’t work, either, but they will make editors very happy. I like chocolate, btw.)
Resistance training and treadmill
Stretching and flexing
Pulling, pushing and press-ups
If you have been sitting at your desk, beavering away for some hours (you have, haven’t you? I don’t mean catching up with everyone on social media, either), you will find that you will need to flex your fingers and stretch your neck and limbs. My top tip: never put food within stretching distance. Always place it where you have to leave the room to go and find it, thus building in a little more exercise along the way. Back at your desk, stretch yourself a little with your writing: don’t just stick to the tried and trusted same-old, same-old themes because you’ve had some success with them in the past. Don’t be afraid to test the water with your editors – speak to them and run your ideas past them first (without giving too much away), so that you’re not wasting your time and theirs. If they’re not suitable for them, try elsewhere. Expand your markets. Flexibility can also mean taking constructive criticism on board and working with your editors to make the necessary changes to improve your story’s chances.
You have been sending in your stories to various publications for months, if not years, and you’re still not hitting the mark with them – see above. Resist the urge to take it all too personally. Step off the treadmill of negativity. It’s not the fault of the editors. They know their publications inside out and they know what their readers want. They also know about stories that have well-worn themes and are therefore predictable and guessable, with no real surprises. Plots that are not strong enough. Boxing Endings that are too Sometimes, the cut and thrust weak. Disjointed stories of the writing business will get you that appear to be about down. Everyone has their off days. more than one thing Take any criticism on the chin – see above. and stories that are We’re all here to learn. Switch off that too far-fetched. Keep critical, nagging inner voice, cut yourself learning, keep trying some slack, go into the garden and take it and remember to be out on the weeds, maybe clear out a few patient! Editors have kitchen cupboards as well, then get back in to read hundreds of the ring. Raise those gloves. Slug it out. stories, not just yours You can do it; you know (though, of course, yours you can! is undoubtedly the best and most important one in the pile), as well as getting on with the many other sides to their job – and all to deadlines!
Rowing (with an ‘oh’ not an ‘ow’) Don’t worry too much about how you are going to get there. Some have it all planned out and will only ever steer in a straight line, with no distractions; others won’t have a clue and are quite happy to meander endlessly around the byways and tributaries until they can see where they are going. Everyone has their own preferred method. It’s not a race. Just follow your own course.
When you feel the pull of the computer, don’t fight it. Push yourself to write something every day. Get into the habit of a daily workout. Press yourself to do a little more each time. Enter competitions, review books online, send snippets to magazine letters pages. Build up your writing muscle. Oscar Wilde (him again; he was a busy boy) wrote that we should always travel with a diary so we would have something sensational to read on the train and Mae West, who also led a somewhat colourful life, is quoted as saying: ‘Always keep a diary. One day it will keep you.’ Maybe your entry will read more along the lines of: ‘Went to supermarket, waited ages for bus, forgot cat food, forced to share my tea with Tiddles, had a bath, went to bed’, but my point is that it’s all good practice and life, even at its most mundane and routine, will be fodder to an active imagination. Don’t forget that notebook and pen!
Personal training Sometimes we reach a plateau, stalemate, and need a fresh approach to reach our goals. It can seem we’re never going to get there. At the gym, we would be assessed regularly and our training programme adjusted accordingly. Our trainer would hopefully be supportive and encouraging, too. Try joining a writing group or going on a course. There are many excellent ones out there. You will get valuable feedback and possibly some new ideas. If nothing else, it’s a break from your normal daily routine and you will likely end up with a few more friends on Facebook.
Star jumps Because, when you have finished your piece and, even better, had it accepted, you will feel like jumping for joy. Probably best to do it outdoors, though. Never mind what the neighbours may think. They’re well used to you and your funny little ways by now.
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Ten resolutions to help you sell your writing in 2019 Will 2019 be a good writing year? It very well could be, if you follow Patrick Forsyth’s advice
I
rather like New Year resolutions. They can serve a purpose. If you select them well, they focus you on key issues for the future. A good resolution can make the difference between action and inaction, prompting a result rather than despondency. Some are a means to an end, others are an end in themselves. But why make resolutions at all? The status quo is a powerful thing. Motivational author Richie Norton says: ‘Most people will passively do exactly what they did last year.’ Whatever you do, don’t let that be you. Clearly if you make resolutions they should prompt action, which leads to change. In this issue of the magazine, reaching you early in January 2019, I offer, in no particular order, suggestions for ten resolutions relevant to writers. I am not insisting that you follow them all, though I believe all of them are sensible, and any of them could make a positive difference to your writing year.
Get real about rejection First, you may learn something useful from it. Second, remember rejection is not necessarily a judgment on your writing. Something may not be suitable for this editor at this moment. Many writers sell their wares second or third time round, sometimes to the same editor who rejected something six months back. Many writers adapt and sell an initially rejected piece in a different form, longer or shorter than the original. Being realistic entails being philosophical: let’s face it, rejection just goes with the territory. I have yet to meet a writer who has not had rejections. Console yourself with the stories – for instance that JK Rolling was turned down umpteen times before getting the first Harry Potter book published.
SET SOME TARGETS
BE BUSINESSLIKE Having a commission concentrates the mind. As I write this I am conscious that I have a firm word count and a deadline to file it. Having that in mind before I start to write helps get it done. This is rather different to just reckoning that you could write a good feature about whatever. A thought like that can sit neglected on the sidelines for a long while. Setting targets – for words to write in a day (or week), query emails to send and more – moves your resolve towards the firm commitment end of the scale. Many writers find that charting activity both increases what they do and pulls action forward.
Seek and use feedback Every writer needs to keep the standard of what they do well honed. Honest critique is necessary and helped by thorough checking – for instance, reading your work out loud allows you to hear how it flows and spot any awkwardness of style. Outside opinion can be useful too. This may come in various ways: from reading at a writing group or event and taking note of comments in an open-minded way to taking heed of any comments made in rejections. Once in a while, you may benefit from an in-depth (perhaps paid-for) critique too. All this can lead to significant fine tuning and to ideas about new opportunities. 24
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If you aim to make any significant amount of money from your writing you need to treat everything about the process seriously and get and stay on top of it. Doing this ranges from scheduling writing time to being organised in terms of admin, finances (including collecting fees, expenses and tax), and in the relationships with your clients – actual and potential. Delivering what is asked for when it is asked for is vital. It also involves running any promotional activity in parallel to the actual writing so you can avoid the ‘feast and famine’ trap of only undertaking promotional activity when writing time allows. Continuity is important here.
Writing is necessarily a solitary occupation. But conferring and collaborating with other writers enlivens the whole process and can bring useful advice and support. You might benefit from a writing buddy (or buddies). Perhaps the best starting point is joining some sort of writing group or society. Contact with individuals is useful too, ranging from an occasional chat (about writing, markets or promotion), perhaps over a cuppa and cake, to more in-depth collaboration, and right through to co-authoring something. I love writing, but I love talking (and writing) about it too and over the years I’ve found it’s been useful, profitable and pleasurable.
Don’t fly solo
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WRITING LIFE
Understand editors
Be persistent It is an old maxim, but worth repeating: There is one word that describes writers with no persistence – unpublished. Okay, it’s difficult. You chase up an editor once or twice and then you are quickly into ‘whatever do I say next?’ territory. So you pause, do nothing for a while, then conclude that the moment has passed and you can’t do anything else. But just one more, or one stronger, contact could be the one that gets something agreed. The financially largest single commission I have ever received came after three and a half years of careful follow up – a nudge about three times a year, which took minimal time. Don’t give up without very careful consideration.
Many approaches made to editors are introspective. Perhaps out of enthusiasm for your great idea, you take things personally. At worst, saying things like ‘this is second only to Shakespeare’, or even just ‘this is such a great idea, it should be your lead article’ will deter an editor. They are not interested in doing you a favour, they want material that suits them. When you pitch, use the word ‘you’ in them more often than the word ‘I’. Think about it. Editors are busy people: they like brevity. They appreciate it if you have clearly made an effort to match the style of the magazine. Of course, you should have the courage of your convictions about your ideas and your confidence should show, but too introspective an approach, without a clear understanding of the editor’s point of view, will be less likely to find favour than one that shows you understand what the editor wants.
KEEP AN EYE ON
You never know where your next new commission may come from. Keep your eyes open. Comb this
section, keep an eye open for suitable competitions, check out bookshops and regularly look along magazine racks. Ask editors what they are looking for as well as making suggestions. Talk with other writers and make notes of things you hear on radio, see on television or social media that might prompt ideas of places or people to contact. Maybe one of your targets (see number 1 in this list) should be the number of new approaches you make. You’ll need to do some checking out first; for instance read a magazine before you approach its editor. That done, don’t delay making contact. Too many writers have lists of things they want to do and yet somehow never seem to get around to doing them all. You need to put bread on the waters. The first step is identifying them.
OPPORTUNITIES
Try something different By this I mean writing in less familiar genres and styles. Experiment during the year, for instance seeing how you get on writing something in a new (to you) genre (eg, crime or how-to). You may find something you previously avoided might spark a new writing project. Perhaps trying a change of style is easiest. Have you tried writing something you usually write, but making it, say, humorous? Even a small departure from what you usually do could increase sales opportunities significantly for you. And you may find you enjoy the challenge too.
Have fun I know, I used this heading in another ten-point article published here last summer. I did consider before including it again, but a number of readers contacted me specifically agreeing about the point. Few writers make their whole living from writing and some make very little money, viewing writing as much as a hobby as anything else. And it can be a frustrating process, sometimes resulting – at least for a moment – in despair. But much (most?) of the time writers do enjoy the process. They enjoy writing, thinking about writing, getting it ‘right’, and of course seeing something published and getting income from it. It’s addictive too. Many of us get withdrawal symptoms if we do not have a project on the go. It is a serious business, as I have confirmed above, but it’s one that can be very satisfying. Balance the ingredients that make it work and resolve to do so in a way that makes it enjoyable.
So, there we are. New Year is a good time to think ahead and make resolutions that aim to make your life better in the coming year. Some of the suggestions I have made may suit you, even get you saying firmly: Yes. I must. You may also be prompted to think of different ideas. Looking ahead and resolving to make some sort of change aimed at improving 2019 is constructive. Progress is not a matter of luck (though that helps) so, while I will not wish you good luck, I wish you well in the coming year. I will leave the last word to well-known writer Jeanette Winterson: ‘If I can’t stay where I am, and I can’t, then I will put all that I can into the going.’
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WP pic credit Enrica Scalfari/AFG/Writer Pictures
f o e u q i n h c e t & e l y t s e Th LISTEN TAP HERE
To hear an extract from Fahrenheit 451
RAY
BRADBURY
Tony Rossiter looks at a writer whose best-known novel is astonishingly prophetic he writer most responsible for bringing modern science fiction into the literary mainstream’, was how Ray Bradbury, who died in 2012, was described in the New York Times. Best known for his dystopian novel Fahrenheit 451, he wrote more than fifty books, worked on films, in television and in the theatre, and published several collections of poetry.
‘T How he began
Bradbury was born and spent his early childhood in Waukegan, Illinois. As an eight-year-old he discovered the American science fiction magazine Amazing Stories. He was captivated by the magazine’s Buck Rogers comic strips, and then by the SF novels of Edgar Rice Burroughs, creator of Tarzan of the Apes and the John Carter of Mars series. He was an avid reader from an early age, spending a lot of time in the Carnegie library in Waukegan, where he discovered authors such as L Frank Baum, HG Wells, Jules Verne and Edgar Allen Poe. He began writing his own stories at the age of eleven, trying to imitate the traditional horror stories of Poe; he later said that Wells and Verne were his primary SF influences. When he was fourteen he and his family moved to Los Angeles. He loved Hollywood, and as a teenager sneaked in to watch film previews and seek autographs of the stars. He attended Los Angeles High School, where he was active in the drama club and earned his first money as a writer by selling a joke to George Burns for the Burns and Allen radio show. His teachers encouraged his interest in 26
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poetry and short-story writing, but he did not go to college. He later said: ‘Libraries raised me. I don’t believe in colleges and universities. I believe in libraries because most students don’t have any money. When I graduated from high school, it was during the Depression and we had no money. I couldn’t go to college, so I went to the library three days a week for ten years.’ In 1938 he began to publish stories in SF fan magazines and during the war (debarred from military service by poor eyesight) he gradually established himself in the pages of pulp magazines such as Weird Tales and Astounding Science Fiction. His first paid piece, Pendulum (written with Henry Hasse), was published in Super Science Stories and in 1942 he sold his own first story, The Lake, for $13.75; by the time he was 24 he had become a fulltime writer.
The Martian Chronicles In 1950 Bradbury brought together some of the stories that had been published in SF magazines and put them into a book that lies somewhere between a short story collection and an episodic novel. Bradbury’s Mars is a desert planet crisscrossed by giant canals built by an ancient civilisation to bring water from the polar icecaps. The novel chronicles the colonisation of Mars by humans fleeing from a troubled and eventually atomically devastated Earth, and the conflict between the Martians and the
colonists. After a global nuclear war the story concludes with the prospect of the few surviving humans becoming the new Martians.
Fahrenheit 451 Bradbury’s most famous novel has sold more than ten million copies. Fahrenheit 451 (1953) began as a 25,000 word novella, The Fireman, which his publisher asked him to expand into a novel (at around 50,000 words, it’s still much shorter than most novels). The Fireman was written in nine days in the Powell Library of the University of California, Los Angeles, which had a study room with typewriters for rent at ten cents per half hour. Bradbury’s total rental cost amounted to $9.80. In Fahrenheit 451 firemen who previously put out fires and saved lives are now tasked with stateauthorised arson: burning books. Hitler’s book-burning in the streets of Berlin and Caesar’s destruction of thousands of scrolls in the ancient Library of Alexandria provided the inspiration for Bradbury’s novel. It was viewed as a repudiation of state censorship, but Bradbury himself said that it was really about the shorter attention spans of an entertainmentobsessed society which television was seducing away from reading. He was very worried about the encroachment of new technology on the written word; he would, I’m sure, have been appalled by the amount of time many people now spend
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B E AT T H E B E S T S E L L E R S
glued to their iPhones and iPads. In a novel written more than sixty years ago, Bradbury was extraordinarily prescient in predicting a whole raft of technological advances: wall-sized television screens, constant music and news delivered by miniature earpieces, drones, robot dogs, ATMs. Quite astonishing.
Something Wicked Something Wicked This Way Comes (1962) has been described by Stephen King as ‘probably Bradbury’s best work’. It’s a mixture of fantasy, horror and magic realism. The language is lavish and poetic, with some descriptive flourishes that put me in mind of Dylan Thomas; add Salman Rushdie and a touch of Stephen King to the brew, and you have a powerful – and very original – mix. It has been criticised as ‘overwritten, excessively literary and poetic’, but the prose, though occasionally difficult, is often rapturous and lyrical, full of bizarre similes and metaphors – and purple passages. Bradbury’s Afterword to the 1997 edition explains the book’s origins: ‘It may well have begun when I was four and my mother lugged me onto a merry-go-round for an hysterical spin. For no sooner had the calliope sounded and the horses plunged into a gallop than small Ray shrieked. My screams continued until the carousel operator, murderous, stopped the horses and let us flee.’ Not long after that experience, the young Ray Bradbury saw two films that showed ‘what went on behind a clown’s mask’ and made him curious about ‘the strange life within the tents’. In 1932, when he was twelve, Bradbury had another carnival experience. He met Mr Electrico, who sat in his electric chair to be ‘electrocuted,’ dubbed the young Bradbury with his fiery sword until his hair rose and sparks jumped from his nostrils, and cried ‘Live forever!’ Mr Electrico introduced him to other carnival freaks, including the Illustrated Man who, tattooed
and sinister, was to become the main villain when, some thirty years later, he used these childhood experiences to create the carnival that is the centrepiece of Something Wicked. Much of the novel centres on a carousel that changes the rider’s age, giving youth to the old and age to the young. If eternal youth is no blessing, neither is a return to what has been outgrown, or an impatient leap to what has not yet been grown into: that is the book’s main theme. Time is precious because it’s fleeting; using science to stop or control ageing would be more nightmarish than fulfilling.
Writing advice Bradbury loved writing. He took intense pleasure in it and for most of his life he wrote every single day. ‘Do what you love,’ he said. ‘If you write for money, you won’t write anything worth reading.’ He gave many interviews during his long career and provided lots of advice to aspiring writers. Here are some of the things he said: Write short stories: ‘The best hygiene for beginning writers or intermediate writers is to write a hell of a lot of short stories. If you can write one short story a week – it doesn’t matter what the quality is, but at least you’re practising, and at the end of the year you have 52 short stories, and I defy you to write 52 bad ones. Can’t be done.’ One a day: ‘Write a short story in one day so that it has a skin around it, its own intensity, its own life, its own reason for being... Two or three thousand words in a few hours is not that hard… If you carry a short story over to the next day you may overnight intellectualise something about it and try to make it too fancy, try to please someone… always go your own way.’ Don’t be afraid to cut: ‘Most short stories are too long. When I wrote Something Wicked This Way Comes the first draft was 150,000 words. So I went through and cut 50,000. It’s important to get out of your own way. Clean the kindling away, the rubbish. Make it clear.’ Metaphors make great stories: ‘If you’re a storyteller, that’s what makes www.writers-online.co.uk
a great story. I think the reason my stories have been so successful is that I have a strong sense of metaphor.’ Run fast, stand still: ‘What can we writers learn from lizards, lift from birds? In quickness is truth. The faster you blurt, the more swiftly you write, the more honest you are. In hesitation is thought. In delay comes the effort for a style, instead of leaping upon truth which is the only style worth dead-falling or tiger-trapping.’ Don’t think too hard: ‘The intellect is a great danger to creativity… because you begin to rationalise and make up reasons for things, instead of staying with your own basic truth – who you are, what you are, what you want to be. I’ve had a sign over my typewriter for over 25 years now, which reads: “Don’t think!” You must never think at the typewriter – you must feel. Your intellect is always buried in that feeling anyway.’ Read three things every night: ‘I’ll give you a programme to follow every night, very simple programme. For the next thousand nights, before you go to bed every night, read one short story... That’ll take you ten minutes, fifteen minutes. Okay, then read one poem a night from the vast history of poetry. Stay away from most modern poems… Read the great poets, go back and read Shakespeare, read Alexander Pope, read Robert Frost. But one poem a night, one short story a night, one essay a night, for the next 1,000 nights!... I want you to read essays in every field... archaeology, zoology, biology, philosophy, politics, analysing literature, pick your own. But that means that every night then, before you go to bed, you’re stuffing your head with one poem, one short story, one essay – at the end of a thousand nights, Jesus God, you’ll be full of stuff, won’t you?’ Write a little every day: ‘Action is hope. At the end of each day, when you’ve done your work, you lie there and think, well, I’ll be damned, I did this today. It doesn’t matter how good it is – or how bad – you did it.’ Live in the library: ‘Live in the library, for Christ’s sake. Don’t live on your goddamn computer and the internet and all that crap. Go to the library.’ FEBRUARY 2019
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FREE RANGE
writing With National Storytelling Week at the end of January, Jenny Alexander gets you focusing on story mode with these creative writing exercises rom 26 January to 2 February is National Storytelling Week, when storytellers will be performing throughout the UK in clubs, theatres, museums, schools, hospitals and care homes. Everyone loves a good story. We tell stories to ourselves all the time – it’s our nature. We make decisions by imagining different future scenarios and understand the past by organising our experiences into the stories of memory. Even when we are asleep, our minds are continuously creating stories in our dreams. So this month’s free-range writing is all about exploring the story-making mind. Relax and do what comes naturally. There’s only one rule, but it’s important: stick to the timings.
F
Fiction Imagine a stranger tells you a story about something that has happened to them. It might be a person sitting beside you on a train, for example, or a shopkeeper having a bad day, or a fellow dog-walker on a towpath. Write some notes about this character – their age, appearance and body language. Where does this encounter take place? Close your eyes and picture the scene. Hear their voice as they tell their story. Now imagine you are the person telling the story. What does it feel like to be in that body, in those clothes and shoes? What are you feeling emotionally, and what are the physical effects of those emotions? In the first person, as them, ‘I’, tell their story. Take fifteen minutes.
Memoir When did you make a life-changing decision? For example, moving to a new home, starting or ending a relationship, having a baby, taking a new job or giving up an old one. What was the outcome? Tell the story. Five minutes. If you hadn’t made that decision, what might you have done instead? Imagine how things might have turned out differently. Write just whatever comes into your head, exploring that for about five minutes. Notice how your ‘would have’ and ‘could have’ thoughts are all stories. Now write down five things that are on your bucket list – that is to say, things you’d like to do before you kick it. Choose one. What would it be like if you did it? It could be amazing – write the story! It could be disappointing or even catastrophic. Write that story too. Take a few minutes for each version. 28
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Non-fiction Narrative non-fiction is a kind of creative or literary non-fiction that follows a story-like shape and uses the techniques of fiction. It has to be factually accurate but also carry the reader along in the same way as fictional stories do. Memoirs and biographies are narrative non-fiction, and so is a lot of travel writing. Jot down some places you have visited or been to on holiday. Choose one and make some notes on the story elements of your visit. When and why did you go? What did you want or expect from the visit? Plot almost always comes from what the main character wants. The settings – not just what the place itself was like but also the season, the weather and the time of day. The action. What happened to either satisfy or thwart your expectations? Maybe you didn’t just see the otters but got to feed them; maybe the meal was www.writers-online.co.uk
tasteless and overpriced. Think of several things that made your experience of the place what it was for you. The outcome. What is your conclusion from your visit? What did you learn? Write the true story. Fifteen minutes.
Poetry Like narrative non-fiction, narrative poetry uses the elements of fiction to tell a story. It needs characters and action (something has to happen), with a compelling opening and a satisfying ending. In this poem, someone receives some great news. For example, it could be their doctor giving them the all clear or their driving examiner telling them they’ve passed the test. Think of a few scenarios and choose one. Write some notes about the character – just their name, age and something about their appearance. Picture the scene where they receive this great news. Who gives them the good news? Where does it happen? More notes. Tell the story of this meeting in a poem. Keep it free verse unless your intention is humorous, in which case a regular pattern of rhyme and rhythm can boost the comic effect. Take about fifteen minutes. If you like the poem and it isn’t quite right yet, continue playing with the words and ideas for as long as it takes! • Poetry note: Poetry doesn’t have to follow any set pattern of rhythm and rhyme. What makes it different from prose is partly that it looks like a poem on the page, with lots of white space around it. The poet Philip Gross says that white space is room for the reader to bring their own thoughts and feelings in. I love that! Because a poem is so short, you can enjoy playing with the language until every word sounds right.
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AUGUST 2018
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BEGINNERS
It’s
mind all
in
the An idea can be the beginning of much more than you initially imagine, says Adrian Magson hen asked recently why I was working on a particular book – a standalone rather than my usual crime or spy thrillers – I was tempted to say, ‘Because it was there’. Instead I explained that it had been niggling at me for a while and I’d simply wanted to get it out and down on paper. The truth was somewhere in the middle. The story was certainly there (albeit ‘there’ in my head), and while it didn’t compare with adventurers saying the same thing when asked about a mountain, I found the looming presence much the same. I mean, you can’t miss a mountain, can you? If you have an urge to climb insanely high places risking life and limb hanging by your fingertips, then I suppose it’s a bit of a draw. (My version of that was climbing the front porch when I was a ten-yearold, and finding getting down was far more threatening than climbing up. Fortunately my father came home and rescued me, although as I found out, it would have been less humiliating to have fallen off and got some paternal sympathy afterwards.) The simple fact is, when you have an idea, the kind that follows you around like a stray puppy, nipping at your mental heels the moment you stop doing something more urgent (and even when you are, in my experience) the only way to get rid of it is by writing it out. Nothing else will do. Not even consigning it to a remote corner of your brain where you think it will lie inert. It won’t; it will sit there laughing at you, demanding you pay it some attention until it slips out through the cracks
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and is gone forever. Instead, write it down. Once written, it’s no longer as urgent or compelling because what was a memory or a flash of insight will have been transformed into a bunch of bytes on a hard drive or words on paper to be used later. If the idea is any good (and they aren’t always), it will feed on itself as you consider it, by adding fragments of other ideas until it begins to expand. True, it will need some creative help from you to marshal the various bits and pieces into a coherent order – but who said writing was easy? It’s very rare in my experience to get an idea or a scene without it leading to further ideas and scenes and characters and dialogue and… well, all the elements which go to making a story. Some ideas will ultimately peter out and end up as a dead end with nowhere to go. Live long and suck it is the answer. And maybe that’s a good thing; it leaves more room in your creative tank for something more worthwhile and positive. The main value in a good idea is what follows on from that initial flash. These additional thoughts are like ‘extras’ or add-ons that pop into your subconscious, usually in the middle of the night or when you’re having a non-writing conversation with someone or indulging in some other random activity. These new arrivals will often have a connection with your current idea, and although unbidden and unexpected, they happen not through the fragmented thoughts of a disordered mind but because the creative part of your brain, kicked earlier into action, has latched onto something familiar. It’s a bit like having your very own subconscious www.writers-online.co.uk
TOP TIPS • Treat every idea as an opportunity. Get it out of your head and write it down. • Look out for ‘addons’ that come along when you’re least expecting them. • Work the possibilities of each idea until you have a potential string. • Treat every idea as a link in the story chain and expand until they fit.
search engine, ticking away quietly in the background, and works best when you’re not trying too hard to write. Don’t ignore these add-ons. They’re far too good to waste. Make a note and look at them as soon as the mood is right. This is where you can find nuggets which, with a bit of work will go towards building what might have seemed at first to be a random series of vague ideas, into something with real potential. Just because this chain of thoughts arrives in fragments or separate ‘links’, doesn’t mean it doesn’t have value. I’ve used many previously discarded flashes like this – by that I mean unused, not dumped completely – in later works to good effect, because I’ve always worked on the basis of never throwing anything away. The other reason for writing ideas down, fragmentary or not, apart from not forgetting them, is that reading on paper is hands-down way better than trying to visualise them in your mind. A scene in your head may well seem brilliant to you because you’re seeing it at lightning speed with all the bells and whistles your fevered imagination can bring forth. But writing it down and reading it back will quickly tell you if this flash scene will fit into your story or not. In simple terms, if something doesn’t read right on paper, it probably isn’t. As some editors and agents will tell you, most especially when editing and before submitting your work, reading it through on paper will highlight inconsistencies, typos, style and timeline errors and a lot more besides. And it’s these ‘besides’ that could mean the difference between your story being viable or not, acceptable or not and, ultimately, publishable or not.
0 0 5 £ ! N I W
N O I T A C I L B U P & S E Z I R P IN CASH
£250
Character-driven
TO BE WON
SHORT STORY
COMPETITION Hero or anti-hero, do-er or dreamer, cool or clownish, focus on one memorable character and use them as the driver for the action in this month’s story, which should be 1,500-1,700 words. The winner will receive £200 and publication in Writing Magazine, with £50 and publication online for the runner-up. The closing date is 15 March
SEE P95 FOR ENTRY DETAILS, FULL RULES AND ENTRY FORMS
£250 TO BE WON
STILL TIME TO ENTER With its closing date of 15 February there’s still time to enter last month’s open competition, for stories told entirely in dialogue. Prizes and length are as above. See p95 for entry details.
1st place LOVE STORY COMPETITION
£200
Home Again
by Andrew London
T
he little patch of sun spends its morning drifting across Lucy’s pillow until it lands on her sleeping cheek. The warmth wakes her. ‘What time is it?’ she asks, forgetting. ‘It’s late,’ he replies, heavy-lidded, drytongued, ‘you must have slept through your alarm.’ The birds outside the window sing. ‘I didn’t hear you come in,’ she whispers. ‘I’ve missed you.’ ‘I missed you too.’ Her phone vibrates on the bedside table. She looks across to the phone, and back to him. Strands of hair fall in front of her eyes. He brushes them back, so gentle it could almost be the mid-morning breeze. ‘You’re going to be late for work,’ he says. ‘I don’t have work. Not today.’ She wriggles a little deeper into the duvet. ‘Liar.’ She smiles. Her phone vibrates again. ‘Your phone’s ringing,’ he says. ‘Let it ring.’ He reaches across her to snatch it. He doesn’t smell the way he used to. They both grab the phone. A tug-of-war. Touching without touching. The screen lights up. ‘You’ve got seven missed calls. Three from work. Four from your mum.’ A brief buzz. He reads the text aloud. Her mother wants her to call. Whilst he’s reading, the phone vibrates again. He looks at her, smiling. ‘He’s there with you, isn’t he?’ he reads. Fauxconcern. Faux-shock. Faux-disappointment. ‘Stop it. Ben, stop it.’ ‘I’ve stopped! I’ve stopped,’ he laughs. But she isn’t laughing. He lets go of the phone, falls back against the 32
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pillows. Dust kicks up into the beam of sunlight squeezing between the curtains. She leans in towards him, stopping just short. He breathes, she breathes. They breathe together, almost. ‘Are you hungry?’ he asks. ‘I could go get us some pastries from that place you like by the park.’ ‘No, don’t go.’ A touch of panic in her voice. ‘Okay, it’s okay, I’m not going anywhere,’ he reassures, ‘but we are going to have to eat at some point.’ ‘We’ll order something in,’ she says. He starts doing his stupid Daddy Warbucks impression. She tries not to laugh. She’ll never tell him how much it bothers her, makes her feel ashamed of having money. He wouldn’t be able to hear it. Besides, it’s a funny impression. Her phone starts ringing again. They both look at it. ‘You should answer that. She’s worried.’ ‘I don’t want to,’ she replies. ‘Sweetheart.’ A silence hangs between them, the phone softly vibrating into the duvet. She picks it up. ‘Hello? I’m fine mum. Yes I’m fine. I know. I’m sorry, I must have overslept. I’m sorry. Yeah, I’m sorry. She shouldn’t have rung you.’ A silence. ‘Uh-huh. No mum. No.’ www.writers-online.co.uk
Andrew London lives in London. Airport staff seem to find that hilarious. By day he writes for the brilliant content marketing agency Velocity Partners, and by night he hangs out with his wonderful wife and dog. Andrew occasionally tweets at @AndrewMLondon and used to pretend to be a horse for a living.
A breath, a little deeper than usual. ‘No mum. I don’t need to say it. I don’t. I’m not saying it. Mum, Ben isn’t here. Okay?’ She looks up at him. He’s smiling that big stupid smile. She almost smiles back but she can’t. It’ll show in her voice. ‘I know mum, I know. I’m sorry. I’ll call her now. I love you too.’ She hangs up. Dials another number. ‘Hi, it’s me. It’s Lucy. Yeah, I’m really sorry but I don’t think I’m going to make it in today. No, no, not that. I’m just not feeling great. Yeah, I know, I’m sorry. I slept through my alarm. Yeah, she rang. Yeah, I’m sure I’ll be better by tomorrow. I’ll text you. Thanks. Sorry again. Bye.’ She sits looking at her phone. He shuffles up behind her. ‘Duvet day?’ he asks. ‘Yeah,’ she replies, still staring at the black screen. ‘Why so glum, chum?’ he asks. ‘You love duvet day.’ ‘Yeah.’ He leans in. She can almost feel his breath on the back of her neck. ‘Who loves duvet day?’ he asks. ‘I love duvet day,’ she replies reluctantly. ‘Who loves duvet day?’
S H O R T S TO RY C O M P E T I T I O N W I N N E R
‘I love duvet day.’ ‘I said ’Who loves duvet day?’’ ‘I love duvet day!’ They laugh. And they laugh. And the laughter cracks, and she’s not sure if she’s laughing or crying. And now she’s crying. And crying. And crying. And the tears subside. And a silence, cold and wet like morning dew, settles between them. ‘You can’t just appear out of nowhere and pretend like nothing’s happened,’ she says. ‘I know. I’m sorry, love.’ ‘I don’t like lying to her,’ she says. ‘You’re not lying to her,’ he replies, smirking, ‘I’m not here.’ ‘Ben.’ He leans in to kiss her but she pulls away just before their lips touch. And she’s crying again. Gentler this time, a trickle not a flood. ‘What is it?’ he asks. ‘I don’t need this you. I need the real you. Can you just be real for a second?’ He looks at her, hurt. Wordless. ‘I’m sorry.’ ‘It’s okay.’ But it isn’t. The silence settles, thickens, hardens. ‘Ben.’ Nothing. ‘Ben.’ He’s looking at his hands. She looks at hers. She brings her wrists to her temples, makes ears with her hands. He does the same. He has to. It’s in the rules. You can’t stay in an argument if you’re both doing bunny ears. That’s what he always says. Said. They sit there. Looking at each other. The silence cracks, with a smile. Him first, then her. Bunny ears always works. Always. ‘I was in the park yesterday and I saw this dog that made me think of you,’ she says. ‘Charming,’ he replies. ‘It was this tiny little thing, looked a bit like a cross between a Jack Russell and a Border terrier. It was trying to get this husky to play with it, but the husky was having none of it. But that didn’t stop this little mongrel. He’d do these playful little nips at the husky’s face then run away. Over and over again. Until eventually the
to him. husky seemed to realise that it had to play with ‘I’m sorry mum. I’m sorry,’ she says. She sits the mongrel. It had no other choice but to play.’ next to him. Her hands drift down from her temples, land ‘It is my fault mum. gently in her lap. He reaches out towards them. It is. ‘Not yet,’ she says, wriggling back on the bed. It is. Under the duvet. It’s too late to be in bed, Because I want him too warm, but he joins her anyway. here. I know. I know. I He breathes, she breathes. They know. breathe together, almost. I know.’ ‘Sing me a song, love,’ she says. Read the judge’s He doesn’t smell of He props himself up on one arm analysis at: smoke any more. He next to her and gently starts to hum. http://writ.rs/ smells like burning. She watches dust dance in the shaft But he looks like him. of light, the soft tone of his breathy wmfeb19 Burning wood and paint hum lulling her, gently, back to sleep. and rubber and metal and hair She doesn’t know how long she’s been and skin. It’s filling the room. sleeping. It’s late, she thinks. Filling her nostrils. Her mouth. The light’s changed. Her eyes. Her phone’s vibrating again. Her ears. She looks over at him. Swallowing mouthful after mouthful of He’s gone. saliva, she looks at his face, his eyes, but he’s Where’s he gone? The phone vibrates. And staring at the floor. Tracing a figure of eight on stops. his thumbnail. And starts again. And stops. The dressing gown is suffocating her. And starts again. She stands up, tries to take it off with her one Maybe it’s him. free hand, but she’s struggling. She picks up her phone just as it stops He doesn’t help. ringing. Nine missed calls, all from her mum. He can’t. Where is he? She gets up, grabs her dressing Not really. gown from the back of her door. She finally gets it open, and it falls to the Her phone starts ringing again. floor, taking her phone with it. He just sits ‘What mum? What? What? What do you there. want?’ She picks the phone up. No. ‘Sorry mum, I dropped my phone.’ No, I told you, I told you he isn’t,’ but the ‘Yeah, I’m okay.’ words catch. Like they’re barbed. ‘Yeah.’ She can’t get them up. She sits back down. Looks at him. He looks Get them out. at her. Thorns snagging in her throat. ‘I know mum.’ Her eyes start to water. ‘I know. I can’t.’ The door opens, and there he is. She can’t say it. If she says it, he’ll leave. A Just standing there. deep breath. He sees she’s up, a look of panic darts across ‘Ben isn’t sat in front of me.’ Her voice his face. catches. ‘I’m sorry,’ he mouths. ‘Ben isn’t sat in front of me. He can’t be.’ He smells of smoke. Fingers yellow. Teeth She looks up. yellow. Lips yellow. This isn’t him. Not how she He nods at her, reassuring. She can’t. remembers him. He nods again, smiles that stupid smile. She makes the decision. She breathes. ‘I’m sorry,’ she mouths back. He breathes. ‘He’s just walked in,’ she says into the phone. They breathe together, almost. He nods. Sits on the bed. Pats the space next
EXPERT analysis
Runner-up in the Love Story Competition was Marie Wheelwright, Todmorden, West Yorkshire, whose story is published on www.writers-online.co.uk. Also shortlisted were: Elizabeth Allsop, Paignton, Devon; Michael Callaghan, Glasgow; Lizzie Cooper-Smith, London SW19; Jess Amy Dixon, Melton Mowbray, Leicestershire; Angelo Edwards, Wolverhampton; June Hendon, Lichfield, Staffordshire; Genya Johnson, Sheffield, South Yorkshire; Amanda Lomas, Saltaire, West Yorkshire; Paula Louise Pace, Sunderland; Sam Palmer, Stoke-on-Trent, Staffordshire; Christine Sarling, Crawley, West Sussex; Celtria Wakenarrow, Willoughby-on-the-Wolds, Nottinghamshire.
www.writers-online.co.uk
FEBRUARY 2019
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! s n o i t a l u Congrat
Judge Meg Marsden salutes the winners of our competition for celebration poems
C
elebration was the theme for this subscriberonly poetry competition – and there was indeed much to celebrate as the entries kept pouring in for this one. Most of us have cause to rejoice in some way or another at least once and maybe many times, throughout our lives, as we remember our successes, family birthdays, weddings, graduations and so the list goes on. Having said that, it was especially gratifying to receive poems that not only recalled births but also the celebration of well-lived lives at funerals and the gratitude of recovery after serious illness or following cancer treatment. Works recalling harsh wartime memories and the resulting effervescence of freedom were particularly poignant. It was unfortunate to read through works with good content or storyline, only to be let down by unexciting presentation or total stream-of-consciousness prose. It’s so vital to read your work aloud before submission. How does it sound to you? Would you be grabbed by it? Would you find it sufficiently interesting to want to read it again? Try, when you get an idea for a piece, to think outside of the box. Imagine your idea right there in a little red box and then think of all the places, all the space around it and take it somewhere fresh and liberating.
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Our first prize winner is MT Kielty of Clydebank with the poem Bannockburn!. This writer ticked all the boxes. First of all we see that the poem is unusual amongst our poetry winners because it is written in dialect. So, it is original in its language, but also in its content and context. On an initial reading it might be considered something of a challenge to the reader, having been penned in this way, but it is quite rewarding to the sassenachs amongst us to discover not only the beauty of the language but also our ability to understand and enjoy it. Within the six rhyming verses we have an introduction to the battle at Bannockburn in the year 1314. We commence with the famed Robert the Bruce, the Scottish warrior king who is in a cave, so the story goes, and feeling somewhat war-weary and downhearted when he watches a spider attempting to start a web. We experience, as we move through the verses, the king’s troubled and meandering thoughts about the monumental army led by the English king at Bannockburn. The final verse focuses on the importance of fighting for the future: Tis no’ for me an’ mine I ficht/But Scotland’s babes unborn! There is, throughout, strong visceral expression and a powerful rhythm which emphasised the idea of the sound of marching feet and heavy hooves. It’s triumph for the Scottish king and also for the author of this work – a poem as finely woven as the famous spider’s web.
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P O E T RY W I N N E R S
FIRST PLACE
SECOND PRIZE Anniversary Tracy Davidson
Bannockburn! by MT Kielty
My husband bakes me a cake, surprises me with a gathering of family and friends. He says three years clean and sober is a big deal, worth celebrating. He says he’s proud of me. So we celebrate with sparkling apple juice and sherbet fountains. I smile, smile so much it hurts.
O woe is me, ye creature sma’, Ye try yer web tae spin. But I fu’ ken whit failure is An’ hide within this den. Is Scotland’s King noo Scotland’s loss? - But the spider swung again.
I slide through the fog regretting all the steps I missed, the times I made him cry.
Oh, Stirling Bridge an’ Falkirk, They run wi’ blude sae rede. A thoosand Scotsmen gave their lives, A thoosand Scotsmen deid. Can I ride oot whaur Moray rode? Or gie whit Wallace gied? For Stirling Toon’s a weel set toon It’s castle strong an’ tall. Who hauds that place haud’s Scotland’s heart Grasped weel within his thrall. I cannae face anithir ficht An’ fail - wi’ Scotland’s fall. And if I gae tae Bannockburn Whit hope shall there be foun’? There’s thirty thoosand English men That march on Scottish groun’, Led by the bones o’ a fearsome king, - though his son but whimpering houn’. If Inchaffray shall say oor Mass Beg mercy from Oor God And shriven, then we’re well prepared For arrow an’ the sword. We Scots shall bend oor knee tae Him, For whit the day may haud! So spin, ye spider! Spin yer web! Yer weans may eat the morn! ’Tis no’ for me an’ mine I ficht But Scotland’s babes unborn! For years may come, an’ years may go – Though the prospect seemed forlorn – But yet the tale shall still be told That we went tae Bannockburn!
My sister follows me to the bathroom. I accept her proffered breath mints and unspoken disappointment.
Anniversary is the runner-up poem, written by Tracy Davidson of Stratford-upon-Avon. Here we have another ‘thinking outside of the box’ poem which leaves the reader colouring in the unspoken elements. The joy of poetry is so often experienced through delving into the subjective interpretation the lines can trigger. It is not easy to write short, good poetry that packs a punch as well as this one does. It is a bittersweet celebration written in five free verses. The first six lines are seemingly good and happy but by the third verse, oh dear. Read that clever, painful last line I smile, smile so much it hurts. That repetition of the word smile is clever and the reader feels her pain but doesn’t as yet know why. The fourth three-line verse is truly upsetting – those Steps at AA
that she’s missed resulting in who knows what – but it wasn’t good and at times her husband cried. The denouement with a loyal but disappointed sister says it all and in so few words. Such economy in a poem is a delight. We have our two winners and we also have ten shortlisted poems. And I particularly want to mention Sylvia Greenland who, although a long-time sufferer of Parkinson’s Disease, took the trouble to write out and submit her poem in longhand. It was possible to see from her handwriting how very difficult this must have been and therefore it is a privilege to add her contribution to the list of those in the Writers’ News shortlist. Finally, congratulations to both exceedingly worthy winners. They and the shortlisted ten do indeed have every reason to celebrate.
Also shortlisted were: Christine Ball, Thetford, Norfolk; Sylvia Greenland, Exeter; Linda Kettle, Portsmouth, Hampshire; Lucy Mills, Chard, Somerset; Sarah Mitchell, Castle Cary, Somerset; Jacqueline Pemberton, Chorley, Lancashire; Angela G Pickering, Sutton, Cambridgeshire; Malcolm Timms, Horwich, Lancashire; Amanda Wales, Elham, Kent; John Ward, Hertfordshire, Middlesex
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FEBRUARY 2019
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I N T E RV I E W
Shelf life: © Dini von Mueffling
JESSICA FELLOWES The writer of Downton Abbey companion books and Golden Age murder mysteries shares her five favourite reads with Judith Spelman
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essica Fellowes is a journalist and author who wrote five official companion books to the television series, Downton Abbey. Starting out as a journalist at the Mail on Sunday, she was a celebrity interviewer, gossip columnist and lifestyle editor for six years. She is a former deputy editor of Country Life, during which time she wrote the magazine’s popular Town Mouse column. Jessica has worked as a freelance journalist for various newspapers and magazines including The Daily Telegraph, the Guardian, The Sunday Times, Psychologies and The Lady as well as doing a certain amount of ghost writing. Her new book Bright Young Dead is the second in her crime series, The Mitford Murders.
ROGET’S THESAURUS OF ENGLISH WORDS AND PHRASES ‘I doubt I’m alone amongst writers in choosing this. I know you can look anything up online, but I use it less for replacing words I’ve repeated in my MS than for the sheer unadulterated joy (376n. spiritual pleasure, delight, happiness, ecstasy) of indulging in the riches of the English language. Working with words is my privilege and with the thesaurus as my tool, I can build worlds out of thin air and blank sheets of paper.’
ROSE: MY LIFE IN SERVICE Rosina Harrison
BIRD BY BIRD Anne Lamott ‘When I’m feeling completely stuck in my writing, Anne Lamott is there to reassure me that it is completely normal but also gives great practical advice on how to get going again. This is a “how to” book for writers but it is also part-memoir, and she is very funny. The title refers to an episode in her childhood when her brother had a huge school project on birds to do, that he had inevitably left until the last minute. As he sat at the kitchen table, feeling overwhelmed and not knowing where to begin, their father had put a steady hand on his shoulder and said: “Bird by bird, son. Just take it bird by bird.”
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‘I came across an old copy of this when I was researching my first Downton Abbey book (it has since been republished) and it has remained my touchstone for my historical writing. Rosa (as she was more commonly known) was the lady’s maid for Nancy Astor at Cliveden, the American who became the first British female MP to take a seat in the House of Commons. The two of them clearly enjoyed a prickly relationship where their co-dependence both delighted and irritated them both. Rosa’s eye for detail is sharp and satisfying, bringing to life both the relationships and work of the servants below stairs as well as the foibles and prestige of the couple they worked for.’
WRITER’S BOOKSHELF
THE BLESSING Nancy Mitford ‘I have to have a Mitford book, of course. Love In A Cold Climate is probably her masterpiece but this is my favourite. It’s touching, observant, cutting about her own class yet gentler than her other novels. Nancy had no children of her own, so the tenderness that she has for children is played out here. It’s a little sad, exposing her vulnerabilities more than in any of her other works but never loses her wonderful sense of humour.’
‘M
A HANDFUL OF DUST Evelyn Waugh ‘Cold, cruel and absurd, I always cite this as my favourite book. It’s absolutely of its time – that intense betweenthe-wars period that has long fascinated me – and yet in its surgical analysis of people and their emotions, it is timeless. I think it’s also important to read books of their time, as we regard those periods now with the privilege of hindsight, not to mention that we cannot help but judge according to our contemporary sensibilities. It is good to be reminded that though they may have made different choices in the past, they nearly always made them because they thought it was the “right” thing to do. It is instructive to think about why those choices have changed and what we can learn from that.’
y new novel, Bright Young Dead, is the follow-up to The Mitford Murders, which launched my Golden Age-style crime series featuring the real-life Mitford sisters. The first began with Nancy as a girl emerging from the nursery and into adulthood, in the company of her new friend and nursery maid, Louisa Cannon, who is fleeing a LISTEN dastardly uncle in London. The two TAP HERE of them get caught up in solving the To hear (real-life unsolved) murder of Florence an extract Nightingale Shore, named after her from famous godmother. The Mitford Murders ‘Bright Young Dead has Pamela as its focus, the sister who came of age in 1925 when London was a swinging hotspot of jazz nightclubs and gangsters, including the (again, real-life) Alice Diamond and the Forty Elephants, her brigand of shoplifters. Since I was a young girl I have had a fascination with the between-the-wars era and this was given full rein when I wrote the official companion books to the television series, Downton Abbey, which was created by my uncle Julian Fellowes. Steeped in this world, it was perhaps only natural that I should return to it for my first foray into fiction. I have enjoyed writing both these novels – and am now planning the third – but writing fiction was even more different than I anticipated from writing non-fiction. I can only compare it to an artist changing from painting to sculpture; you are still communicating your ideas but in a completely different way. Historical research is my comfort zone, and when I am feeling slightly at a loss or lacking confidence in my fiction, I can turn to the myriad of memoirs and biographies that will give me a small but crucial detail to spark off another plotline or character. ‘My writing day is reasonably disciplined, following the same pattern as when I wrote journalism and non-fiction. I don’t wait for a muse to arrive, I know that sitting at my desk and writing – or trying to write – is the only way for words to fill up the pages. In the morning, I will take my son to school and go to an exercise class (essential if I am not
to suffer from “writer’s arse” at the end of each book) then come straight up to my desk with the second cup of coffee of the morning. ‘My husband also works from home and we are in the same office – a converted attic – which I find both useful (it sets the tone for a working day) and distracting (when he is on the telephone). We work through the day, breaking for lunch, which my husband generally prepares, until one of us leaves to collect our son from school and the other cooks supper. But the year divides up according to which stage I’m at with my book. ‘At the moment, planning my third book, I’m finding it hard not to be distracted by various domestic chores or lovely books I want to read, because the deadline is not yet looming large. I try to write out the synopsis in detail – chapter by chapter – and then settle down to write the first draft. This is in some ways the best and the hardest part. It’s the most enjoyable, in that you lose yourself in the world you have created, but it’s also frustrating as the picture in your head is not the one that you paint with the words on the page. But I try to keep moving forward and not edit at this stage. ‘Once the first draft is completed, I’ll send it to my editor and then the two of us will work out the kinks (or large dents) in the plot, which I’ll then rework over a further month or two. Further edits will add details, or shave away unnecessary words and even paragraphs. I liken it to doing a drawing, then colouring it in. ‘To those people who say they will LISTEN write a book when they have more TAP time, I say: why wait? If anything, a HERE writer is more efficient when there is To hear less time to do it in and there’s less an extract meandering, which can be death to from Bright Young prose. At the very least, make notes for Dead what you want to write. But I don’t think any kind of writing is possible until you have worked out the structure first – even if it changes later – and for whom you are writing the book. Writers need motivation because everyone loses heart at some point and without knowing where you’re going and why you’re doing it, it’s too easy to abandon the whole project.’
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FEBRUARY APRIL 2017 2019
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UNDER THE MICROSCOPE
Under the Microscope James McCreet puts a reader’s first 300 words under his forensic gaze
It was not the best of places.1 Many were far better.2 Anyone would sooner be elsewhere than at the Effingham Hotel.3 Being here came with the job though4 for Detective Inspector Jack Kirby.5 A woman had been murdered; the station sent him to find her killer.6 On arrival7 Detective Sergeant Rowena Farr was stood8 outside the door to the crime scene. 9 She opened it; they entered.10 ‘Her name was Miss Mary Hardy,’ she said.11 He nodded. His eyes were drawn12 to the body lying on the floor.13 ‘She’d only come for the weekend. That was the gist of what they said downstairs. Her clothes in the wardrobe tell me otherwise.’14 He thanked DS Farr for putting him in the picture.15 Living nearer to the crime scene16 she had arrived before him and straightway took17 over command from the uniformed branch. Miss Hardy’s petite slim frame18 lay on her back19 on the cheap tired carpet20 that vainly attempted to cover the floor.21 Her height was about five feet three or four22 and weighed23 approximately eight and a half to nine stone. Wearing only her light blue silk pyjamas24 told him she’d dressed ready for bed.25 A coffin would be the only bed awaiting her now.26 Turning to Rowena 27 he said, ‘DS Farr, you said you had 28 seen her clothes in the wardrobe. Get the photographer and a police woman to go through them with you. I want the manufacturer’s names of all her clothes, sizes, etc. 29 Tell the photographer I want photographs of all her clothes. 30 Anything inside the pockets I want bagged up. 31 There might be something to give us a lead. 32 What was a woman with expensive tastes doing in a cheap dive like this? 33 What brought her here? Had she come to see someone? We need the answers.’ 34
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Alan Archer was born in 1946, the eldest of two identical twin boys. He attended a secondary modern school and after leaving did a variety of jobs including salesman and self-employed tour operator before taking a course in business administration. He lives in Armthorpe, Doncaster. This novel is set in Markham. Markham Main, the book’s title, was the name of the coal mine in Armthorpe.
1 2
A short percussive sentence to establish the terse style. I like it.
But the second sentence seems redundant. Clearly there are better places if it wasn’t the best.
3
And the third sentence suggests, in fact, that it may actually be the worst of places. Where’s the focus?
4
Is ‘though’ necessary to this sentence? It seems to stand out as extraneous.
5
But we have a name and a role. This is need-to-know information.
6
Is it necessary to mention that the station sent him? The fact that there’s been a murder and he’s a detective would seem to suggest that he’s there professionally. Indeed, we’ve been told as much. There’s too much dead wood in this first paragraph. It diffuses the impact and the focus.
7
There should be a comma after ‘arrival’, but even then the sentence is grammatically flawed. What you’ve written here is that DS Farr was standing on the doorstep already when she herself arrived. It’s a clash of subject (which much agree in both www.writers-online.co.uk
clauses). What you mean to say is, ‘On his arrival/When he arrived, DS Farr was...’
8
Let us address this most heinous and prevalent grammatical crime here and now. If DS Farr ‘was stood’, it means that a third-party had placed her there either against her will or because she was physically incapacitated (passive voice). The correct structure is ‘was standing’ (continuous present tense). This error has become so common now that most people have forgotten the difference. Hopefully, writers will not.
9
Well, she was standing outside the door to a room. Does a crime scene have a door or a window? Something about this doesn’t sound right. Is it only me?
10
The short fragments and semicolon add to the hard-boiled terseness. Good.
11
Fair enough. It doesn’t seem like an especially important piece of information for the reader or for DI Kirby, but we can go along with it.
12
Cliché. What do we actually mean by ‘his eyes were drawn’? He looked – that’s his job.
UNDER THE MICROSCOPE
13
A bit more detail? Face down or face up? Contorted? Mutilated? Bloody? The reader sees almost nothing. (See 19)
14
I like the way you don’t signpost who is speaking. It’s clearly DS Farr and her observation is a good one. Yet I wonder if she’d explain her reasoning so specifically to a DI, who wouldn’t need it (see rewrite).
15
Why do we move away from dialogue to reported speech? It breaks the spell and returns the reader to narrative control. ‘Putting him in the picture’ is another cliché – unless he uses the phrase himself, as some people are wont to do.
16 17
And here we have a problem. We were previously told only that she was lying on the floor so I’d imagined her face down. Now I have to adjust my mental image.
A double-space break isn’t necessary here. It introduces a pause and therefore a stutter in the narrative flow. Why ‘frame’ and not ‘body’? Why choose the former? Also, ‘petite’ describes ‘frame’ but not ‘slim’, so we need a comma after it.
26
I’m afraid I found this inadvertently amusing. The pathos is overplayed and so misses the mark. Keep it subtle.
27
comma.
A comma after Rowena, though I wonder if it’s necessary for him to turn to her. Can he just speak as he looks at the body?
21
28
22
23
29 30
24
‘Light blue silk’ (no comma after ‘blue’ because ‘light’ describes ‘blue silk’) or ‘light-blue silk’ (light describes ‘blue’ but not ‘silk’)?
31
25
32
20
As with 18, ‘cheap’ describes ‘carpet’ but not ‘tired.’ Use a
What does this mean exactly? That the carpet was too small and didn’t reach the walls? Or that it was threadbare and transparent? It’s a nice phrase, but it needs to mean something specific. Something about the three numbers disturbs me. Could we write, ‘She was about 5’3’?
Is this relevant? Maybe it’s a clue.
It seems better to continue with the past-perfect tense: ‘She’d arrived and straightaway taken...’ Note straightaway.
18
19
Her height weighed nine stone? That’s what the sentence says. Careful with grammar.
The pyjamas would tell anybody this, not just an experienced detective. Go easy on the telling and let the reader make some deductions.
In summary This is not a bad start to a crime novel. We have a body, a scene and an investigator. The style suits the content and there’s immediately a mystery for the reader (why an apparently well-off person would be staying in such a hotel). The premise and structure are good. Two things let it down. The first is how it fits into the crime genre. Readers of this kind of novel are keen sleuths in their own right and have been trained over decades to read for clues. Here, the clues are either too vague (a lying body) or overstated (the pyjamas and the clothes in the wardrobe). The job of the crime writer is to note the clues but not necessarily explain them, especially the more obvious ones. That insults the intelligence of the characters and the reader. Then there’s the language. This story announces itself as a bit hardboiled, but there’s a lot of narrative salad. That first paragraph is excessively wordy without saying much. Do we need to be told that the photographer is responsible for taking photos? Is it important that DS Farr lives close by? The danger of this latter detail is that it appears to be either irrelevant or an overt clue, neither of which is good. Many sentences are excessively woolly, as in the numerical estimates of height and weight. Maybe these show the detective’s talent for assessing measurements, but they are not interesting to read. There’s the foundation of something good here. Have a look at the rewritten version at http://writ.rs/wmfeb19
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People seldom use full forms in dialogue. He’d probably say, “You said you’d seen...” unless he’s a stickler for strictly formal address. And does he really need to remind her what she said a matter of seconds before? Why the sizes? This is not a fault – I’m just intrigued.
Why else would the photographer be involved? Try not to state the obvious.
I’m sure he wouldn’t have to explain this to DS Farr, who is also a detective. It seems to be more for the reader’s benefit
Another case of stating the obvious, even if it’s aimed solely at the reader. Readers of crime novels are pretty well versed in investigative procedure.
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It’s not entirely clear how he’s able to say for certain that she had expensive tastes. The clothes haven’t yet been assessed, and he’s not proved her pyjamas are silk. Is there something more about the corpse we’ve not been told? Is her expensive car outside? It’s the responsibility of the crime writer to give readers clues to play with.
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DS Farr already knows this, so why is DI Kirby saying it? There’s a lack of veracity here that threatens to suggest a lack of research. Crime readers have a fine sensitivity for how the police operate.
• If you would like to submit an extract of your work in progress, send it by email, with synopsis and a brief biog, to: jtelfer@writersnews.co.uk
FEBRUARY 2019
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TA L K I T OV E R
Go faster stripes I have completed the first book of a trilogy and have been lucky enough to find an agent who is willing to try to sell it for me. I am very excited as you would expect, but I am also worried. Because I am a debut novelist and need to show I can deliver, my agent wants me to provide the second book as soon as possible as well as a proper outline of the third. She says it will be easier for her to get me a deal that way. She asked me how soon I could get this second one written and was clearly expecting it to be a matter of months. However, all that exists of the next two parts is a few pages of scribbled notes and this first novel took me two years. I have teenagers, a dog, a small part-time job and all the usual domestic commitments. I know there are writers who turn out manuscripts in a very short space of time but how do I become one of them?
Jane Wenham Jones has good advice for a writer who needs to crack on with book two of a trilogy
and only very rarely at weekends,’ she says cheerfully. ‘I love to travel, have adventures and have duvet days watching romcoms.’ Explaining how she manages to fit her life and family in, as well as keeping up this impressive writing output, she puts it simply: ‘I write smart.’ In practice, this means for Virginia, having a regular routine. Her day starts with a dog walk and a thirtyminute stint on admin or social media and then she gets to it. Her rule is that she only reads ‘the words I wrote SUE SLOWCOACH the day before, editing as I go to get London me back into the zone. Then I pick up where I left off.’ In other words, she doesn’t get bogged down with stressing over the ongratulations on getting an earlier parts of the manuscript but agent and on completing your keeps her eye on getting to the end of first novel. Both are wonderful the story. ‘Over-editing and self-doubt achievements and you are quite will scupper your output better than right to be excited. I also completely anything else,’ she says. ‘It’s best to understand your concerns – most plough on, knowing and accepting writers would find it daunting to have you will have to fix it properly later to write the next one so quickly, but – or not as is so often the case. Not as you say, these things can be done all of your words will be rubbish, and and there is nothing like a deadline to only once you’ve finished will you get one galvanised. truly be able to know what’s right or I was talking recently to Virgina wrong – so go with the flow and keep Heath, a romantic novelist with Mills plodding towards that light at the end & Boon Historical, who has written of the tunnel.’ an astonishing fourteen novels since This is excellent advice – and is how her first contract in September 2015. so many thousands of writers manage Virginia is currently working on to rise to the challenge of penning a new King’s Elite series – the latest, 50,000 words during NaNoWriMo – The Uncompromising Lord Flint, is out national novel-writing month. now – which means producing four ‘Deadlines are really your friends,’ books a year of 80,000/90,000 words concludes Virginia, who claims she each. Yes, my mouth dropped open can ‘procrastinate for Britain’ and gets too and no, I didn’t know how If you her work done by having designated she did it either, but in case it is have a question writing time and writing goals. When helpful I’ve since asked her. you would like Jane to I spoke to her she had just started a Virginia was keen to consider, email jane@ new book which she needed to finish emphasise that she didn’t get janewenham-jones in nine weeks. Writing on weekdays to be so prolific by writing only, this meant producing 2,094 words 24-7 and never having any fun. .com a day. So that is what she aims to do. ‘I never write in the evenings
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A scientific approach like this can work well to keep you motivated, and while Virginia says she ‘cannot plot for toffee’, I would also add that personally, I have found that the more you plan a book, the quicker it comes together. So maybe take a week or two first to reacquaint yourself with those scribbled notes and really map the second volume out – if you are the sort of writer who can do that. Once you have started, use dogwalking and time spent on domestic chores, plus your journey to and from your job, to think about what’s going to happen next so you are always raring to go when you get to sit down at the keyboard. Perhaps those teenagers could give you some extra help around the house while you are making the best of this fantastic opportunity – tempt them with thoughts of fat advances and lucrative weeks on the bestseller lists – or you could experiment with voicerecognition software so you can be adding to the manuscript – if only in note form – while you are ironing or washing the kitchen floor. While I can see that your agent needs to be sure that you can deliver if she gets you a three-book deal on a tight timescale, she may well be very happy to start negotiations with the opening chapters of book two and a synopsis of the remainder. Especially if you can assure her you are in a rhythm and can continue in the same vein. It is certainly worth giving the project your very best shot. In my experience, the more you write, the more you write, and I think you will find that if you have set writing times that nothing is allowed to interfere with, you will soon build up a head of steam. In the meantime, stay calm, stay focused and start now! I wish you the very best of luck.
Helpline
Diana Cambridge solves your writing problems
Email your queries to Diana (please include hometown details) at: diana@dianacambridge. co.uk or send them to: Helpline, Writing Magazine, Warners Group Publications plc, 5th Floor, 31-32 Park Row, Leeds LS1 5JD. She will answer as many letters as she can on the page, but regrets that she cannot enter into individual correspondence. Publication of answers may take several months. Helpline cannot personally answer queries such as where to offer work, or comment on manuscripts, which you are asked not to send.
Q
I am in the process of writing a story about people who die alone. These individuals do not appear to have family or friends and neighbours’ knowledge of them is scanty. To help the story along, I should like to know if, say, the local authority (of the area in which the deceased person was living) might try to find out whether the deceased did have living relatives, and any other interesting information about him or her. If the deceased has personal papers where he/she had been living and no living relatives can be found, who goes through the papers? If there is to be an inquest, wouldn’t this information be needed? If there was to be a funeral, someone needs to be told this vital information. I would like to know what actually happens in a scenario such as this. What steps do the authorities take to find out who the person was? Is there anything on the internet which might help? Thanks. VALERIE SCOULER Sutton Local councils have a ‘death admin’ team which looks into the case of people, often recluses, who die alone: the team will organise the funeral, sort out the will if they can find it, and clear out belongings. Anything valuable goes into a council safe, and may be sold to pay for the funeral. The council’s solicitor will make every effort to locate friends and family – perhaps from notes or photographs inside the house. This sort of plotline would make a very good novel, I think. You’ll find an excellent feature which covers all the details here: https://writ.rs/deathadmin
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Q
I have a fatigue condition which means I can’t go out to work, and often have to rest. I find my writing – when it goes well – does seem to improve my mood, and the opposite when it goes badly. A friend suggested I give up the writing and not take the risk. EM FARRELL Potter’s Bar I guess the best person to ask would be a GP. My view would be to continue doing anything which improved the quality of your life. When your writing goes badly, then give it up for the day and rest or do something different. Even people without a fatigue condition can have bad days with their writing. I’d be tempted to hold on to your writing, but don’t drive yourself too hard when you don’t feel well. Celebrate when it does go well.
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Q
On a writing retreat recently, I was horrified when another student outlined their novel – almost identical to mine. Since she was first in giving her outline to the class, I felt very embarrassed when I gave my synopsis. I did work on with it, but have lost interest. It’s a ‘relationship goes wrong’ story, with an ambiguous ending. The tutors tried to encourage me, but the other woman’s writing was much better than mine. CHRISTA NEVILLE Alton, Hampshire Don’t despair – many plots are nearly identical, especially where relationships are concerned! It’s the way the story is constructed – how compelling the work is – which makes it marketable. Have a look at Dan Brown’s tips on writing on YouTube – you’ll be instantly encouraged. When you say the other woman’s writing was ‘better’ than yours, what criteria are you using? I think you were disappointed that your plots seemed the same, and made an emotional judgement. If you’ve really lost interest, work on something else. And you can always politely say, on any course, you don’t wish to give your synopsis. Just say it’s a novel about relationships – many writers don’t like talking about their work. This choice is yours to make. Tutors will be sympathetic to this.
A Q
Gardening is my passion. I read masses of gardening magazines and columns and think I have a garden to be proud of. I reckon I could do a gardening column – say for the local free glossy – that’s much better than the one they have. But I’ve heard they never pay for articles. Is it worth following this up? I’d like to start gardening workshops and maybe do a book as well. I’d enjoy writing the pieces, and they’d put my picture and details in. SUZE LEPONT Yeovil, Somerset This topic arouses strong opinions! Some young student journalists maintain a writer should never write for anything but money. Others, perhaps more circumspect, see that this kind of column could be a very good advertisement for you: several hundred pounds worth of free advertising. Once you’ve got this to put on your CV, it’s a big plus for students looking to join your workshops. The same with a book submission – the fact that you have written a column is a big plus. I’d say go ahead and submit your ideas to the editor and look on this as an investment. Readers who disagree – and please don’t write to me or slate me on Twitter! – I understand that you feel nothing should ever be done for free and you don’t understand the economics of the ‘free ad’. In fact the writer isn’t doing this ‘for free’ but for her own benefit and career. There’s a difference. Of course, if every writer in the world refused to do any ‘free’ writing there would be a change: but that’s a bit like saying if everyone only used second-class stamps, then first class stamps would become obsolete, and the service therefore cheaper.
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I’m a short story writer looking to find a publisher for a themed collection I’m working on. Would any agents take me on without a novel in the bag? I’m aware that short stories are not particularly marketable. Perhaps it is best to approach indie publishers directly with this kind of project? PHILIP CHARTER, Somerley, West Sussex Everything depends on the quality of the stories – I don’t think the fact you haven’t written a novel would make any difference. There is a small market for short stories – a market which appears to be increasing – and yes, you could try indie publishers. They’re often open to original work. I would do this before starting on agents. The other thing you could do is, begin sending short stories out to short story competitions. Publishers often scout the winning entries.
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FICTION FOCUS
New year,new writing habits? Are you stuck in a writing rut? Margaret James urges you to revitalise your way of working to make 2019 the year your writing shines s the well-worn cliché puts it, old habits die hard, but it’s worth remembering that sometimes clichés persist because they are founded on ancient wisdom. Most of us find it difficult to break long-standing bad habits – smoking, overeating or shopping for things we don’t really need – but long-standing good habits might sometimes benefit from being challenged, too. A good habit can easily become a rut, and who wants to spend life in a rut, ploughing the same furrow over and over again? Some novelists say they never plan, can’t plan and won’t plan a story. I’ve had plenty of creative writing students who’ve insisted they cannot plan anything. I’ve always respected this, but I’ve also known that later on the student will risk writing himself or herself into a blind alley. I’d like to suggest that doing just a little bit of planning might not be such a dangerous thing, after all. The non-planners often say that planning stifles their creativity, and maybe they’re right, at least to some extent? So, if you’re a planner, perhaps from time to time you could set
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aside a day and write into the mist? Give yourself a key word or two first thing in the morning, and see what unfolds? I’m definitely a planner who feels anxious if she doesn’t know where she is going, story-wise. But recently I’ve written several pieces of short fiction after giving myself a key word then plunging straight into a story. I’m hoping doing this will eventually give me the confidence to try writing longer pieces without worrying too much about where I’m going or how I’ll get there. Some readers of this article could be about to start writing their first novels. This might be a rather daunting prospect, having to meet the challenge of getting a hundred thousand or so words on paper or on screen, and in the right order, too. But try not to say: okay, I’ll give it a go, and in the meantime I’ll keep my plans to myself. Be brave and announce your intention to the world. Or at least to your family and friends. Then you’ll find out who wishes you well and who is anxious to help you – and who is only too ready to observe that most wannabe novelists never get commercially published anyway,
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FICTION FOCUS
while those who do hardly ever make any serious money. Let your characters talk to you, write from the heart, and tell yourself you will make it into print one day, even if you end up self-publishing. After all, some of the most successful novelists in the world today self-publish their work. What kind of writer are you – an otter or a dolphin? As Neil Gaiman pointed out during an interview a couple of years ago, most novelists tend to be one or the other (https:// writ.rs/otterdolphin). While otters will sometimes do tricks in exchange for fish, they are easily bored and always ready to embrace change, whereas dolphins seem happy to learn a trick, then to repeat it over and over again. Publishers admittedly love dolphins, who can be relied on to produce the expected goods on a regular basis. But, if you’re a dolphin, maybe try being an otter this year and taking on a new challenge? Or, if you’re an otter who is permanently chopping and changing – planning a crime novel one week, a romance the next, then telling yourself that science fiction is the way forward for you, after all – perhaps you could set aside some time for thinking about where your interests actually lie and trying to work out what kind of fiction is really right for you? It can be a lonely business, writing a first novel. You might not be friends with many other writers yet, you’re afraid you don’t really know what you’re doing, and you worry you’ll run out of steam. What about writing in a partnership – have you considered that? Do you generally get along with other people, at work and in your personal relationships? Do you respond well to constructive criticism? Do you like to share? My writing partner Cathie Hartigan and I are both novelists and creative writing tutors who have written three study guides for students, including one on novels (The Novelist’s Workbook, available on Amazon). The way it usually works is that one of us writes a chapter then sends it to the other to edit. This process continues until we have a complete first draft, and then we take turns to re-edit the whole thing until we’re both satisfied with it. A writing partnership encourages both authors to keep going and bring fresh insights into the work-in-progress. A novelwriting partnership could make a point of ending the section one author has just written with a crisis of some kind, thus challenging the other writing partner to get out of that, then! Some new writers can become a little defensive or even precious about their work. ‘These words are my words,’ they say, ‘and not a single one shall be deleted or changed.’ But writing in a partnership soon knocks this concept on the head, and is good practice for when a professional editor gets involved. Although editors aren’t always right, the editorial process works best when author and editor can work as a team, rather than behave like adversaries in a court of law. So maybe, if you never show your work to anyone until it’s finished, this coming year you could be brave and start to share your work-in-progress with other writers? You never know, they might come up with some amazing insights that will result in revelations.
NOW Try this Planner, non-planner – perhaps the best option is to plan our work to some extent, but not be determined to have every development set in stone before we even start writing?
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I wish I’d known… with Kitty Wilson
‘T
here are so many things I wish I had known before I started taking my writing seriously. At first, I arrogantly thought that all I had to do was furiously tap out 90,000 words, preferably ones that made me giggle, and ta-da, I’d have a book. This book would naturally be snapped up by publishing giants who’d recognise my genius, and I would be sipping cocktails on a yacht by Christmas. ‘Of course, I knew nothing. ‘What I learnt was that writing is something that demands a lot of hard work and bucketloads of tenacity. Luckily, I have this, although my family and friends refer to it as being stubborn. You can’t just trot out words and hope they work. You plan, you write, you sob and contemplate giving it all up. You delete, you re-write, you finish a very rough draft, and then you edit, edit, edit. You need to have a proper plot, and character arcs, and a sense of place, and a million-and-one other things that don’t just appear all by themselves. ‘I learnt this by reading constantly, by scouring the internet for writing blogs – Emma Darwin’s is my favourite – but most importantly by making friends with other writers, by learning from them, by listening to what they said, and by asking them questions about things my very literal brain just didn’t understand. ‘Not only did they teach me about the realities of a writing life: they also made me realise there is no professional network I have encountered that is quite like the writing community. Other writers encourage you, support you and are genuinely as excited about your good news as you are yourself. What I really wish I’d known is that learning to write and making friends along the way is so much better than a squillion cocktails in the sun. Then I would have started writing years ago.’
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WRITERS’ CIRCLES
aking Mmusic
Learn harmonious word use from the structure of a piece of music in this writing group exercise by Julie Phillips
T
o borrow the sentiments of an old song about show business, there’s certainly no business like the publishing business. This month we’re going to add a bit of that razzmatazz sparkle to your group’s writing, (jazz hands are optional), by taking a look at musicals and what we can learn from them to apply to our own writing. Whether you’re a fan of Joseph and his Amazing Technicolour Dreamcoat or you prefer the romance and drama of West Side Story, there’s a musical out there for everyone. From toe-tapping get-youup-and-dancing tunes to stirring-theblood power ballads, writers can learn a lot from the master musical writers such as Tim Rice and Andrew Lloyd Webber that they can bring into their own writing. There’s nothing like a good show tune, but you don’t have to go to a theatre or put on a CD or to appreciate a good beat. Rhythm is everywhere – we hear it as the wind rustles the leaves on trees or in the dripping of a tap and the thrum of our own heartbeat. Music and beat run through our lives, even before we are born, and just like music, words have a rhythm all of their own. For the first activity your group are going to use their hands as a musical instrument. Ask one group member to clap out a simple rhythm that the other members of the group are going to copy. Then one group member will clap out a rhythm and pass it on to another member of the group who will change it. Keep this chain going, rather 44
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like pass the parcel, until all group members have taken part. What did each member feel during this activity? Were the clapping patterns kept simple or did they get more complicated as they went along? Next ask your group to note down a few lines of the lyrics of their favourite song or from a musical. As they read it out, they should also clap out the rhythm of the words – each syllable. If any of them are feeling brave, they could sing the words out. Ask the rest of the group to think about the musicality of the words and beat and what they notice. Were the lines all the same length, was there a metre to it? Any patterns? It can be quite monotonous if a song or piece of music has the same number of words in each line, unless the songwriter is trying to achieve a certain effect. Think of the staccato delivery of some rap lyrics that punch the air, making a point. In speech, and in writing, we vary the length of our sentences to make it pleasing to the ear, easier to follow, interesting. If I use words that have the same beat that goes on and on and on and I don’t change that beat so it stays the same, it can drive the listener mad and put them off, so you don’t want to read to the end. It doesn’t have to be that way. If I vary the words, have some of more than one syllable and break it up into long and short sentences, it makes it easier to read or hear. Next, ask the group to pair up or in small groups have a conversation www.writers-online.co.uk
where they can only talk using words of one syllable and in short sentences of no more than five words. Then go the other way, using words of two or more syllables and in sentences of no less than twenty words. How difficult did they find it? Which was more frustrating for the listener and the speaker and why? Building on what the group have discussed when it comes to rhythm, it’s now time to put it into practice. Ask the group to write down a couple of paragraphs where they can only write short sentences and then rewrite it using long sentences. Read them out. What impression do both versions portray? Ask the rest of the group to comment. Usually, short, sharp sentences suggest urgency, speed, a sense of suspense. They make the reader’s heart beat just that little bit faster, make them a little uneasy. Longer sentences tend to slow the pace and make the reader relax or, if they are too long and convoluted, they may confuse or bore the reader. A balance must be struck. Now get the group to write a third version of the piece of writing with words of different syllables and variable sentence lengths. Then read them out and invite comments from the rest of the group. Taking inspiration from the musicals can help your writing group appreciate the cadence and musicality of words – the rhythms and beat of each word that link into a sentence, building up to the crescendo of the full orchestra of the fully written piece.
WRITERS’ CIRCLES
CIRCLES’ ROUNDUP If your writing group would like to feature here, whether you need new members, have an event to publicise or to suggest tips for other groups, email Tina Jackson, tjackson@warnersgroup.co.uk
ASA
SPOTLIGHT ON… Fosseway Writers
The past twelve months have been quite eventful for Fosseway Writers, writes Nick Rowe, the chair of the group. The group, based in Newark, Nottinghamshire, decided to have a stand at Newark Book Festival, which is emerging as a notable event in the East Midlands literary calendar. The 2018 festival was going to be the largest yet with dozens of stands and famous speakers, including Matt Haig who grew up in the town. But a stand was no good without something to promote and so Fosseway Writers raided their archives from the past twenty years and selected some ‘greatest hits’ to go alongside some brand new material written by current members. The result was a new anthology entitled Gobstoppers, Shrimps and Sour Monkeys, described as a pick’n’mix of short stories and poems. We wanted to convey the fact that this was something you could just dip into. We’ve got some jaw-dropping tales, hence the gobstoppers, and some poems and flash fiction which are the shrimps. And the Sour Monkeys? Well, there are some things in there that might leave a nasty taste in your mouth. The book, published via Amazon KDP, is available for 99p on Kindle or £6.99 for the 200-page paperback. Nottingham historical fiction author Clare Harvey said some lovely things about our little collection and it was very well received at the Festival. More importantly, we improved the public’s awareness and attracted new members to the group. Other group activities include workshops and guest speakers, regular informal meetings to discuss members’ writing, and three competitions (poetry, flash fiction and letter writing). The group
has an active website that posts news and meeting information as well as Facebook and Twitter pages. The latest development is a closed internet forum where the members can work collaboratively. After the success of the 2018 anthology we asked ourselves ‘what do we do next?’ The forum is a way for several of us to work on a single project at the same time. Fingers crossed we get a book out of it in time for the 2019 Newark Book Festival. Website: https://fossewaywriters.wordpress.com/
Oldbury Writing Group The Oldbury Writing Group (OWG) is a West Midlands based writing group founded in August 2014 by author Angela L Garratt, writes Nicole Simms. Our group consists of poets, short story writers, novelists and non-fiction writers from a range of backgrounds and levels of experiences. We meet every Saturday morning from 10am to 11.30 am at Oldbury Library. We don’t write during our meetings like other writing groups. Instead, we share our writing projects, provide feedback, give advice, offer support, and have interesting discussions about the writing world and life in general. Since forming, we have published a World War Two anthology titled From Sunrise to Sunset, and we have held a talk at the Wolverhampton Literature Festival about the benefits of joining a writing group. We have also been interviewed on the Billy Spakemon Radio Show, supported an open day at the Sutton Coldfield Cancer Support Centre, and took part in story and poetry readings. Most recently, we judged a children’s poetry competition, and we are currently putting together
our second anthology titled Naked Words and Empty Cages Cages. We often go on outings to spark our imaginations or to improve our craft. For example, we have gone to Kinver Edge, the Birmingham Museum and Art Gallery, the PowWow Festival of Writing and Warstone Lane Cemetery. OWG is more than a group of writers. We are friends who celebrate each other’s successes, support each other during difficult times and we enjoy a group Christmas meal every year. Our writing group is free to join, and we are always open to any writers in the local area, no matter what you write or your writing ability. So come along and see if the OWG is the group for you. You can find information about our publications and our latest news at www.oldburywritinggroup.wordpress.com
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SAU B S C R I B E R S P OT L I G H T
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SUBSCRIBER SPOTLIGHT
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Share your writing success stories. If you subscribe to Writing Magazine and would like to feature here, email Tina Jackson, tjackson@warnersgroup.co.uk
Pro-active publishing
Period pieces
‘I would never have believed that when I began writing Hannah & the Hollow Tree over ten years ago, that I would end up being an indie author,’ writes subscriber Jane Browne. ‘Now, I wouldn’t have it any other way. ‘It was on a visit to Norfolk with family when I was, like the tree I saw in the grounds of Blicking Hall, struck by the proverbial bolt of lightning. I’ll never forget throwing my dog’s lead at my aunt Carol and running to the car to grab my notebook and pencil. ‘I’ve always loved nature and care deeply about what is happening to our planet and the adverse impact we’re having upon it and so began exploring this idea as I developed the character and plot. Throughout my teacher training, I rediscovered my love of writing and in particular children’s fiction. ‘After accumulating a pile of rejections, I decided to undertake an MA in Creative Writing at Leeds Trinity University and graduated in December 2018, fulfilling my dream of being a published author. It was without doubt the smartest move I’ve ever made as a writer. Being surrounded by a wonderful group of peers and having a healthy dose of pressure really worked wonders as I workshopped the second in the trilogy, Gaia’s Revenge, and got serious about self-publishing. ‘But it wasn’t until the spring of this year when I discovered a rather successful indie author by the name of Mark Dawson, whose Self Publishing Formula course and podcasts really gave me the confidence to go for it. And I haven’t looked back since. ‘I am so passionate about this story and the journey my heroine goes on and I really wanted to write a children’scrossover fantasy novel with an inspirational, contemporary girl at the heart of it. I believe young people are filled with enduring potential and if they work hard at something they love, then good things can happen. Hannah & the Hollow Tree is available on paperback at www.jabrowne. com or ebook on Amazon.
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‘One of the questions I was asked at my talk at a recent local literature festival was how do I show my readers the period in which my novels are set?’ writes subscriber David Holman. ‘When writing my Cold War thriller series, the Alex Swan Mysteries, I find that the best way to transport your readers there is to reference things symbolic to the time. For example, in my last novel, Countdown to Terror, half the story is a whodunnit at the Needles Battery on the Isle of Wight, where Swan is called into investigate a string of mysterious incidents involving the testing of the Black Arrow satellite launcher. To capture the period (1969), I researched the novels published and the songs topping the charts for this particular year. So popping up like strategically placed cameos, are Graham Greene’s novel, Travels with my Aunt and Simon and Garfunkel’s smash hit, The Boxer. Another way of showing the time is to have references to film releases. In this novel, a character while being pursued, stares at a film poster of the all-star-cast western, Mackenna’s Gold, then feeling slightly uncomfortable with Gregory Peck, Omar Sharif and the myriad of other stars staring back at him, leans on it to get back his breath. With my latest novel, Island of Fear, I have continued this trend with reference to ABBA’s Waterloo winning the 1974 Eurovision Song Contest. ‘Other references can be used such as the vehicles of the time and if the readers still haven’t got a grasp on which year your stories are set, there are of course the significant events, such as the Apollo missions, the war in Cyprus and the resignation of President Nixon to rubber-stamp these periods of history. ‘I am now working on my fourth book and looking at items to reference for 1979, as well as pinpoint the events surrounding the story, namely, the end of UDI in Rhodesia and its transition to Zimbabwe. ‘Wings of Death, Countdown to Terror and Island of Fear are available on Amazon, published by Endeavour Media.’
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Creative collaboration
Pilgrim’s progress
‘In 2015, I submitted a novel I’d written to the Pageturner Prize, run by Tibor Jones literary agency,’ writes subscriber Rosie Sandler. ‘I was not longlisted, and I thought no more about it – until I received an email a few months later from Kevin Conroy Scott, the agency’s co-founder. He told me that Tibor Jones was running a mentoring scheme, and wanted to know if I would be interested. The project would involve my being paired with another un-agented author, to co-write a middle-grade children’s book. The agency would supply the main characters and premise, and we would collaborate on a plot. ‘I signed up, and was paired with the talented Joe Heap. We were given the characters of a schoolgirl detective, Agatha Oddlow, plus some details about her best friend, her school and her home life. Under the guidance of Sophie Hignett – who was overseeing the scheme at the time – we devised a plot, and Joe and I wrote alternate chapters, in Agatha’s voice. ‘The end result was taken up by HarperCollins as a three-book deal, with Agatha Oddly – the Secret Key published in June 2018. I’ve recently delivered the final manuscript for book two (Murder at the Museum – due out in March 2019), and we are working on an outline for book 3. ‘The whole process has been great fun as well as good training – I’m now prepared for the swathes of edits required on each draft of a manuscript, for instance! ‘The books are published under the pseudonym Lena Jones – to link them with the agency that birthed them. ‘I am now seeking representation for two of my solo novels: Borderlands – a book for adults, about the isolation of grief – and my children’s ghost novel, Rare Sight, which has attracted more than 10,000 readers on the Movellas teen fiction site. I am also a poet, and I host a blog called The Poet’s Resource (https://thepoetsresource. wordpress.com/), where I post information on free-to-enter poetry competitions, plus anthologies and journals.’ Website: https://rosiesandler.co.uk/
‘The publication of my first novel, Unlawful Things, is the culmination of almost a decade of researching, writing, re-writing, editing and re-writing some more,’ writes subscriber Anna Sayburn Lane. ‘Unlawful Things was inspired by a three-day walk from London to Canterbury, following the route of Chaucer’s pilgrims, in 2009. The route took me through lots of the places I used to cover as a newspaper reporter working in south London. It sparked memories of some of the news stories I wrote about, and also reminded me of the Elizabethan playwright Christopher Marlowe, who was born in Canterbury and died in Deptford, where he is buried in one of the churches we passed on our walk. ‘As we walked, my partner and I told each other stories, both true and made-up for fun. One of those stories lodged in my mind and eventually formed the kernel of the plot of the novel, a mystery thriller about two historians on the trail of a lost play by Christopher Marlowe. ‘The story took hold, and I began to research and write in earnest. I was lucky enough to be able to use the archive at Dulwich College, close to where I live. The college holds the most important collection of papers relating to Elizabethan theatre – the diary, account book and letters of Philip Henslowe, owner of the Rose Playhouse where Marlowe’s plays were first performed. ‘I also drew on my experiences of some of the more violent sides of contemporary south London life, which I’d seen as a newspaper reporter. The result is a story that weaves the present and past together, in a twisty and gripping thriller. ‘I had some initial interest from publishers and agents, including being shortlisted for the Virago/ The Pool new crime writer awards. But eventually I decided to go it alone as an independent author. Unlawful Things is available in paperback and ebook formats, through Amazon.’ Website: http://annasayburnlane.com/
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S U B S C R I B E R S P OT L I G H T
The write decision ‘I’ve had six books and two ebooks published down the years, but I don’t actually feel like I’m an author,’ writes subscriber Roy Calley. ‘I used to work for the BBC as a sports journalist on radio and TV and had done for 26 years, but in 2016 I was witness to a pretty horrific experience (I live in Nice in the south of France) and that just changed my life. ‘From that moment I decided I didn’t want to do anything that I didn’t like, and I also didn’t want to be with people who I didn’t like, so I resigned from work and decided to write. ‘It sounds easy and idyllic. After all, living on the Cote D’Azur and just scribbling or writing a few words is a life we’d all love… and yes, I do love it, but it doesn’t seem real. Aren’t authors supposed to sit in coffee shops for hours on end at a table with their laptop open? Isn’t there a garden shed where I’m supposed to go and sit in complete silence for hours on end whilst waiting for the latest creative thought to enter my head, or am I supposed to join a local writing group where my latest piece of genius can be discussed, dismembered and put together again? ‘I don’t do any of those things, but that doesn’t mean I shouldn’t. I don’t take my writing seriously because I know I’m not a consistent-enough writer to be taken seriously. Some of the stuff I write is bland, but every now and then I know I’ve written something pretty damn good. ‘My latest book (and I’ve had books on football, motor-racing, water-speed records and my all-time passion Mary, Queen of Scots, published) re actually a “secret” project, and a completely-out-of-the-blue commission. The first should be out next February and only then will I be allowed to publicise it. Odd I know, but the subject matter is a little sensitive to say the least. The second came about when I sent off a manuscript for a novel I’d written years ago to a publisher mentioned in this magazine. They didn’t like it, but on the back of that submission came the offer of a 50,000 novella on Mary and her last hours before execution. I’m absolutely delighted, if not rather overwhelmed as I now need to try and transport myself back to the 16th century again. ‘I genuinely don’t feel like I’m an author as I’ve said, but I do believe that if you want to write, then you should. ‘Don’t let life-changing moments dictate when you start, just do it and enjoy it. If you don’t try, you’ll never know.’ 48
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A resolution fulfilled ‘I’ve always had an innate desire to write a book,’ writes subscriber Michael Downie. ‘I remember as a child watching my mother writing and her finding absolute joy in the words she was putting on the page. ‘My life took me away from books. I gravitated towards music and for most of my twenties I barely had any books in the house. But the desire to write was always there. I wrote for websites, I reviewed CDs and concerts, I interviewed famous rock stars. But it never felt right. It wasn’t what I wanted to write. ‘As 2017 became 2018, I made myself a pledge. I was going to do it, I was going to write a book. It wasn’t a New Year’s resolution, it was a promise to myself. By 31 December 2018 I would have a first draft completed. I started my novel on the 18 of January. I finished the first draft on the 13 of March... ‘The story poured from my hands. It was written without a plan, without anything in the way of a layout. I simply wrote and it came together. A science fiction thriller, The Logan Prophecy tells of a corrupt religious leader in the distant future. His lust for power has brought him to the edge of manufacturing a genocide to prove that his religion is a universal truth in the galaxy. The heroes of the tale don’t know that they’re all connected to this one man and their individual stories coalesce for the book’s exciting climax. ‘I published it through Kindle Direct Publishing. Having had no experience with publishers or agents, I initially became quite dejected after blanket, boilerplate rejections started to fill my inbox. I decided to do it myself. ‘The novel has been well received, currently boasting a 4.75 rating on Amazon and a 4.57 rating on Goodreads. I’m immensely proud that I’ve finally achieved this goal I’ve had for nearly 25 years. I’ve already started on a second novel and I can’t wait to see where my imagination takes me next.’ Website: https://writ.rs/theloganprophecy
Suzanne’s space adventure ‘Writing puzzle books has brought me as close as I’m ever going to get to an adventure in space,’ writes subscriber Suzanne High. ‘Soon after the publication of my latest puzzle book, 50 Logic Puzzles (Luscious Books), I was contacted by Ben Brusey, editorial director at Penguin Random House, and asked to act as a logic puzzle consultant for Tim Peake’s new book The Astronaut Selection Test Book (Century). ‘As you know, Tim Peake is a celebrated European Space Agency astronaut and I was delighted to play a small part in the production of the book. The Astronaut Selection Test Book is an entertaining mix of puzzles and commentary by Tim on his own experiences of the selection process, and a great read for anyone – of any age – who has ever wondered if they have what it takes to be an astronaut. What’s more, the royalties from the book will be donated to the Prince’s Trust charity. ‘It was wonderful to be part of this project. If I hadn’t had my puzzle books out there, I would never have had this exciting opportunity. Logical, really.’ Website: www.lusciousbooks.co.uk/suzanne-high www.writers-online.co.uk
S U B S C R I B E R S P OT L I G H T
An inevitable sequel
Another killer read ‘I’m thrilled to announce that HarperCollins will publish my second novel on their Killer Reads Imprint in January 2019,’ writes subscriber Rachel Sargeant. ‘The Good Teacher is a police thriller featuring young detective Pippa “Agatha” Adams who investigates the murder of a popular school teacher. ‘The plot for the novel started life as a five-minute workshop exercise at a literary festival in Shrewsbury in 2002. Afterwards I expanded this one paragraph into my first ever short story. I submitted it to Writing Magazine’s Crime Short Story competition and was delighted when it won. Buoyed up by this unexpected success, I expanded the story into a novel which found a publisher in 2010. When this publisher ceased trading, they gave me back the rights and I set about rewriting it, using the techniques I learnt on my recent Creative Writing MA at Lancaster University. ‘When my agent, Marilia Savvides at Peters, Fraser and Dunlop, received the updated version, she liked it and sent it to Finn Cotton at HarperCollins. It was wonderful when he agreed to take it onto the Killer Reads list. ‘Finn was also my editor for my first Killer Reads title, The Perfect Neighbours. This was published last December and became a Kindle Top Ten bestseller in the UK, and Top Fifty in the US. It has sold over 100,000 copies to date.’ Website: www.rachelsargeant.co.uk
‘I’ve just completed A Prescription for Madness, my second novel and the sequel to A Taste of His Own Medicine,’ writes subscriber Linda Fawke. ‘Writing just one book was my original challenge – I never contemplated two. But after changing the ending to the first book several times, it still left some unanswered questions. So the sequel became inevitable. And I loved writing it. I knew how to start it, had a few thoughts about the middle but a blank for the end! My characters got together while I was sitting at my laptop late one evening (my best writing time) and sorted me out. ‘Both books have a pharmacy background – before retirement I was a pharmacist. My main character, Kate, is a pharmacist – although she isn’t me. Both are easy to read, suitable for Book Club discussions. A Prescription for Madness does, however, have a serious and more complex side. It deals with pregnancy late in life and associated risks, including Down’s Syndrome. With both books I have broken the rules. Everyone advises that the main protagonist should elicit sympathy from the reader. Kate is a strong woman who may have quite the opposite effect! ‘I decided to self-publish both books, having had them professionally edited. I also had a graphic designer produce the covers. I am a firm believer that there is no reason why a self-published book should be inferior in any way to a traditionally published book. ‘There won’t be a third novel in this series – but I shall continue to write as I can’t imagine life without it. ‘Both books are available on Amazon as paperback and e-versions.’ Website: www.linimeant.wordpress.com
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D R O W G N O R T S A by Cat Lumb
Cat Lumb is a Yorkshire lass living on the wrong side of t’hill in Stalybridge, Cheshire, with her wedding-phobic fiancé of ten years and a mischievous puppy called Hugo the Destroyer. Her short stories have featured in Woman’s Weekly, a Comma Press Anthology, and her recently published collection The Memorial Tree, available on Amazon. While she lives with two chronic conditions – ME and fibromyalgia – she’s determined that these won’t prevent her from being a published novelist one day. Find her on Twitter: @Cat_ Lumb or via her website www.catlumb.com
I
’ve never been interviewed for the papers before. How does it work? Just talk, do I? Oh, that’s direct: when did I start to hate her? Why does everyone assume that, she’s still my daughter, you know? I guess it’s easier to tell you how it all happened, from the beginning. We did love her when she was little, her dad and me. She had these perfect blue eyes, round cheeks and thin blonde hair. She looked like an angel but she was a nightmare to take care of; always so demanding and needy. ‘Mummy, can I have this?’ ‘Daddy, can we do that?’ I mean, she slept with us, right between me and 50
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my husband, until she was eight. I’m convinced that’s why he left. Oh, you don’t think so? Do you have kids? Well, then, you know how exhausting it is. Imagine your little one always getting in the way when you wanted to touch your wife. That’s what she was like; couldn’t just let us have a moment, no, she had to be the centre of attention. I mean, I can’t really blame Simon for leaving. I would probably have done the same in his shoes. But, I had to stay. I’m her mother, aren’t I? We did our best for her. We wanted to make sure that she got all the things we never did growing up, but she didn’t appreciate anything www.writers-online.co.uk
we did for her. All the toys and activities, she didn’t accept them gracefully, if you know what I mean. Of course you do, you’ll understand with your kid that sometimes they can be unreasonable so you have to punish them. Oh god, not physically no, I’d never hit her. That’s one step too far, isn’t it? I’d confiscate her ‘phone, stop her from going out, that type of thing. Had to lock the window in her room when I caught her sneaking out; she could have been going to meet a boy and got knocked up as a teenager. She did hit me once, though. She wanted to go out with friends and she hadn’t done her homework. She
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said she had, but I knew she was lying. She screamed some awful things at me, then when I still said no she slapped me, right across the face. I felt like I’d been walloped by someone bigger than a fourteenyear-old. She put so much force into it. She did it in front of Patrick too, just to embarrass me, I’m sure. I stood there, my face as red as the hand-mark on my cheek with tears in my eyes. Patrick had to raise his fist before she scuttled away. I never got an apology of course, but then she never thanked me for ‘owt either, so no surprise there. I expect you’ll want to know about Patrick? Well, he came along when she’d just turned twelve. I never thought another man would look at me after my husband left; single mother, with a difficult child? Most men would run a mile. Not Patrick. He was gentle, understanding, and patient, even with her. But he saw how she would push me and bait me for a fight. It was him who fitted the lock to the outside of her door. For her own protection, just so we’d know where she was. I can see your face. You think I was a bad mother. No, it’s okay, maybe I was. But it wasn’t all terrible. Before Patrick, the two of us would cuddle up on the sofa and watch a movie with a bowl of popcorn. We’d giggle at the stupid rom-coms where the girl always ends up with the guy and yell at the TV: ‘They always end up kissing!’ We were happy then but it never lasted very long. She soon grew out of wanting to spend time with her Mum. I suppose it was high school that did it. She wanted to be popular and fit in. She was for a while, but then she just stopped making an effort. The amount of times I had to go down there to apologise for her snarky comments to teachers, or for not wearing the uniform, even fighting. She was always the one to start it too. Of course, you know Patrick had to leave. That was her fault. She said he’d touched her inappropriately. I mean, seriously, what would a grown man want with a fifteen-year-old blimp? Especially when he could have had me. Don’t think I didn’t see you look me up and down when I came in here.
Not bad for 43, eh? She didn’t take after me this way; grew right out of her angelic looks. I tried to get her to eat right, exercise; I mean it’s not that hard, I do it, as you’ve noticed. But she just scoffed down the junk food. Then when puberty hit she piled on the weight. Sometimes I found her crying in the bathroom and I’d have to comfort her, encourage her that she could cut out all the sugar and crap she ate, but she didn’t want to change. In the end I gave up, figured she deserved to be fat. See this scar on my arm? She’s the reason I prefer to wear long-sleeves now – caught her literally trying to cut the fat out of her thigh with a razor blade. She lashed out at me when I tried to stop her; cut me so deep I needed six stitches. What was I supposed to do with her when she got like that? She was a danger to herself and others and she was ruining my life. I defy anyone to love under those circumstances. I know she’s my daughter but she didn’t act like it. She was a leech, sucking the life out of me. So, yes, Patrick left when she accused him. He didn’t want to get the police involved, not because he was guilty, mind. But stuff like that ruins a man’s reputation doesn’t it? He couldn’t risk his livelihood and place in the community for her, could he? I suppose that’s when I resented her the most. Like I wasn’t allowed to have life beyond looking after her. She’d scream that I didn’t deserve to be happy at me sometimes. I’d given up so much for her and she was so ungrateful. She couldn’t let me have just one thing. Not even Patrick. Read the judge’s Now, to be honest, I don’t even really analysis at: remember it happening. http://writ.rs/ Patrick called me from wmfeb19 work, said that she’d shown up in a skimpy outfit and tried to seduce him. I didn’t know what to do. He drove her home and didn’t even look at me even when I dragged her out of the car. He sat staring straight ahead gripping the wheel with his knuckles white. It’s disgusting what she tried to do to him. And you know what she said? She said that he was a dirty old
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man and that she just needed proof. Convinced herself that it had to be before she turned sixteen because otherwise it wouldn’t be classed as raping a minor. How could you possibly love someone after they do such a despicable thing? So, I guess I did hate in that moment. Who wouldn’t have? I must’ve snapped. I remember screaming at her and she tried to pull away, so I held her in front of me trying to get through to her how wrong it all was. I suppose that’s when the neighbours called the police. I just let it all out; I wanted her to know of all the terrible things that she’d done that this was the final straw, that I was done. I still can’t tell you where the knife came from. All I know was that there was blood just as the sirens started. I don’t remember stabbing her, honest. I’m almost sure I didn’t. I was angry enough to do it, sure, but did I? I don’t know. Part of me wonders if she did it to herself, just to get me in trouble. She’ll probably tell you something different. Have you spoken to her yet? No? Well, watch out, she knows how to spin a lie. Do I want to see her? I don’t know. Is she here? Would she want to see me, after everything? Well, I haven’t seen her since the trial. I suppose it would be good to make sure she’s okay. I am still her mother. But my lawyer said not to talk to her. I wouldn’t be able to think of anything nice to say anyway. Oh, just through this door? That’s it, no security? Well, okay then, if we can just walk past I suppose that will be alright. Is that her? She’s lost weight and dyed her hair. Well, I guess that’ll be for you guys – everyone wants to look good for the press. Oh my god, did you see that? She’s smiling. She’d glad I’m in here, while she’s free and clear. I bet this was her plan all along. Oi, you. How dare you smile when your mother’s behind bars. This is your fault. Oi, don’t you turn your back on me. I hate you, you ungrateful— ...get your hands off me. I’m fine. Just get me away from her quick. I bet that answers your question though doesn’t it Mr Journalist man? Of course I hate her, look at what she’s done to me. FEBRUARY 2019
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I
’m nearly at the door. Only a few more steps. My heart’s hammering against my ribs. I stand still and steal a precious moment to try and focus on my breathing. I swallow down tears before I grip the handle. They won’t see me cry. I know they’ll be waiting, with by Karen their jeers and their taunts. With handfuls of stones to throw at the Ankers monster. I’ve covered myself as well as I always do; a thick coat, a hat, a scarf wound around my face. Very little of my flesh is visible, because I know monsters should stay hidden and shouldn’t frighten children. I hate summer. I hate daylight. I hate being seen. I’m too hideous to be seen and I should hide in the dark. But there isn’t enough darkness to hide me. And I have to go out. I have to go out twice a day. I have to take you to the place called school, and I have to shield you as I bring you home. The children know Read the judge’s this. They wait for me, analysis at: ready with stones and jeers and taunts, counting down http://writ.rs/ the seconds until I emerge. wmfeb19 And their mothers wait, with cold silent stares. Monsters must
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Karen Ankers lives in Anglesey, where she enjoys long walks on the beach with her dog, and regularly performs at spoken word events. She has been writing for many years, but only recently started to try to forge a career as a writer. Her poetry has appeared in many magazines and anthologies, including her recently published collection, One Word At A Time. Her one-act plays have been performed in the UK, USA, Australia and Malyasia. Her debut novel, The Crossing Place, was published in January 2018.
not be spoken to. I wasn’t born a monster. I remember a time when I could walk the streets in safety. When people would speak to me. When I could smile. But that was before the alleyway and the man. The man who pinned me to the ground. The man who was your father. The man whose memory I smothered and sweetened with chocolate and pizza and doughnuts. The man who still sneers and growls through every cell of the rolls of creamy fat that have become my armour. When you were a tiny seed inside me, I tried to dissolve you in a bottle of gin, but you stayed solid in your stubborn skin and you grew. Until that day when I pushed you, screaming, into a world that greeted you with lights too bright and noises too loud. www.writers-online.co.uk
I wrapped you in love and tried so hard to protect you. I kept you safe in my home and we laughed together, sang together. And then one day, people came to the house, people in uniforms, and they insisted you should go to a place that was not safe. A place where other children would laugh at you, jeer at you, hurt you. You were too delicate for this world, I told them, and you had to be kept safe. But still they said you must go, and so you did. To the place where lies were sold, to the place where I knew you would be damaged. That first day, when you came home from school, you were already altered. My perfect child, bright and golden as the sun, was edged with shadow. Each day the shadows grew. Your songs were silenced and your colours dimmed. And when I complained to the teachers, they
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laughed at me. Called me overprotective, told me not to worry. You were growing up, they said. Learning to conform. Learning to fit in with other children. You kept changing your perfect shape to try and fit in, twisting and growing rough and ragged edges. You tried so many ugly forms, desperate to find one that would fit. But you would always be the child of a monster. One day you came home and you were silent, and when I asked what was wrong, you said a boy had asked why your mother was so fat. And I hugged you and cried with you and swore to myself that I would lose weight. And I tried. But I wasn’t ready to shed my armour. I was afraid it might fall away to reveal even worse ugliness. You are jagged now and I am so sorry. Your anger is my fault. Your teachers call me every day and complain that you have hit another child, or kicked, or bitten. And the reason is always the same. They had insulted me, and you had tried to be a hero, tried to be the edge of a silencing sword. But I’m the only one who sees your pain. The jeering children, the silent mothers, the tight-mouthed teachers, they only see your anger. And they call you a monster, like me. I press down the handle and open the door a little way. It’s quiet and I breathe in this beautiful, brief moment of silence, to shield me from the horror I know will come. It begins as soon as I step outside. ‘Oi, fattie!’ I would run if I could. But my armour weighs me down. ‘Look, it’s a monster!’ ‘You’re disgusting!’ ‘Look at her wobble!’ Tiny stones sting my cheeks, my arms, my legs. As I reach the school, the other mothers move aside to let me past. They don’t speak to me and their stares are like iron. And then I see you and I let myself smile.
I don’t deserve you. My mother told me so. When you were born, she held you close and thought I didn’t hear her whisper that you didn’t deserve a mother who went with men in dirty alleyways. I told her I hadn’t had a choice, but she didn’t want to listen. You walk slowly across the playground, your head down and your eyes lowered. The scowl I’ve grown so used to is firmly stuck to your face, but I know it’s only a mask you will wear until we get home. The other children don’t speak to you. Neither do their mothers. But when you see me, you smile. The brilliance of that smile will strengthen us both on the walk home. Your smile is like the sun breaking through clouds. But it doesn’t last long. You take my hand and the familiar shadows begin to cross your face as you tell me about your day. ‘I got in trouble.’ ‘Again?’ ‘I hit David.’ I push your amber hair back from your tiny face. ‘Why did you hit him?’ ‘He called you names.’ I’m not going to ask what the names were. They won’t be names I haven’t heard before. Fat cow. Jelly monster. Lard face. I’ve had so many names that sometimes I have to remind myself of the one I used to use. The man who was your father didn’t know my name. Slut, he called me, as he pushed you into me. Filthy slut. And my mother agreed with him. That’s what she called me. Looking up, I can see David’s mother staring at me, clutching her child by the hand. He’s crying and you stick your tongue out at him. ‘Can’t you keep that little monster under control?’ She doesn’t come any closer, speaks to us from a safe distance. Monsters are dangerous. ‘She has a name.’ ‘She’s a brat.’ David is spun around and taken away.
No one wants to know the names of the monsters. I called you Fleur, as you lay in the plastic hospital cot. My little flower. ‘Mummy?’ I smile down at you. That’s my favourite name. I don’t need any other. You’re tugging at my hand. ‘Can we go now?’ Like me, you don’t like being outside. You know you’re only safe in our house, in the darkness of our cave. And as we start to walk, we’re conscious of the stares. The stares that soon turn into jeers and thrown stones, and tin cans, and accusations. We cling to each other, cling to the love that binds us, as we scurry past our tormentors, crouching to dodge the stones. When we get home, I give you the bar of chocolate I kept for you. You grin and tear open the wrapper. I close all the curtains and we are suddenly safe in the darkness. It might surprise people to know that life in the monster house is quiet and normal. There are no children hidden in dark cellars, no creatures writhing in dusty webs or rotting in clanking chains. No bones littering the floor. There are books on the shelves, pictures on the walls. Photographs on the mantelpiece. We keep photographs of better days, when we were able to smile. I help you with your homework and we eat and laugh and watch TV. And then you go to bed and I sing you to sleep, and I sit downstairs, in the darkness where no one sees me. There are no mirrors on the walls. Not even I dare look at myself. I watch beautiful people move across the television screen and I envy them their grace. Sometimes I would be glad to shed the weight of my monster scales, just for a little while, but how can I, when they cover the hideousness of the things I have done? He laughed as he ground into me. Stones dug into my back and his breath stank of decay. He was the only man I ever lay with. I am a monster. What else did I deserve?
Shortlisted Also shortlisted in the Hate Story Competition were: Alison Allen, Reigate, Surrey; Dominic Bell, Hull; Paul Dunn, Sunderland; Matthew Hole, Taunton, Somerset; Claire Jenkins, Chesham, Buckinghamshire; Robert Kibble, Slough, Berkshire; Jane Robertson, Sharpness, Gloucestershire; Joan Wilson, Kendal, Cumbria.
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P O E T RY WO R K S H O P
Love lin e s Alison Chisholm examines two poems from a collection of romantic poetry by a poet about to be wed
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hen St Valentine’s Day appears on the horizon, thoughts of love cannot be far behind. For a poet who’s about to be married, it takes only a short leap of the imagination to realise that the perfect Valentine’s gift will be a collection of love poems. This is where Aurélien Thomas of London comes in, and takes on a mammoth task. Not only is he planning the beautiful gift of poetry for his fiancée, but, having come from France originally, he’s writing it in his second language. To compound the difficulty still
If you would like your poem to be considered for Poetry Workshop, send it by email to: jtelfer@ writersnews.co.uk
A BLOSSOMING Do you know that my heart was a barren land scorched by drought, a desert? A place for dirt and quicksand. Unbeating. Drained. Inert. Do you know that you were my sun? And water? And my need? That you tore through it all, in earnest? That now my heart is a seed, unlocked, for thousand crops to harvest? Do you know?
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further, he’s tackling a very familiar theme. Anyone writing poems about love has to appreciate that it’s been one of the most popular subjects for poetry for centuries. The challenge of finding something new to say gets harder for each succeeding generation of poets. By the time you are reading this, the couple will have married and the book will be finished. We’ll consider two short poems from the collection, under the working title of Amina, and see how the poet has approached his task. This poem takes an original look at love by latching onto an unexpected metaphor and showing how it’s the perfect choice to communicate the poet’s message. The wasteland described and the body enfolding the heart can know the bleakness of being barren and scorched. Both can be drained and inert, and the reference to the negative of beating can refer to the sun or the heart. Even quicksand gives a double reference, with both the physical condition of dry quicksand and the fact that quick also means alive. There is a shift in the second stanza, where the refrain Do www.writers-online.co.uk
you know? moves from careful observation to the specific address to another person. The tone of this stanza is conversational. The sequence of questions split up by the question marks adds urgency, and insists that the character being addressed listens to the narrator. This raises an interesting point regarding punctuation. It would be grammatically correct to divide the points with commas, and have just one question mark at the end of the sentence. Using so many question marks gives substance to the voice and grips the reader. Although the poem finishes neatly with a final repeat of the refrain, the poet might think about reconsidering this. The previous line, ending with harvest, might make a stronger conclusion. The use of rhyme is interesting here. There is excellent application of sound similarities, and the slant rhymes are close and effective. The full rhyme in need / seed, where both sound and stress are equal, is softened slightly by the fact that it appears in the odd-numbered lines of the stanza rather than the evennumbered ones. As well as the rhyming at line
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ends, plenty of slant rhymes appear within the text. The full consonance of drought / desert / dirt, assonance of place / drained and water / tore / all, and repetition of my, and and that all add to the poetic quality of the writing. Aurélien points out that he usually writes in rhyme, but that the second poem we are going to look at moves away from this device. There are not, of course, the traditional line-end rhymes here, but the slant rhyme device of repetition is well-used in the second, fourth, sixth and eighth lines, alongside the unaccented rhymes of tapping / chirping / whispering / knowing. This poem, too, offers an interesting angle on the familiar subject. By concentrating on a single aspect of love – in this case the beloved’s name – rather than looking at the huge abstract concept, the poet can communicate a much more specific and therefore more telling message. It’s interesting to note that the least exciting part of this poem is where we move away from the specific and into the general. The last three lines, while undoubtedly sincere, are less focused and original. Here, too, the poem could be stronger for dropping the ending. And I pity those sad passers-by / for not knowing your name would be a brilliant line on which to close. Looking at these two charming poems in isolation fails to put them into the context of the collection of love poetry. Whenever a collection is themed, the need for a fresh approach in every poem, a variety of style and expression, and A NAME The rain pouring on the asphalt is tapping your name, and a bird crossing my sight is chirping your name, as the wind in its glide is whispering your name, and I pity those sad passers-by for not knowing your name, for you are in my breath, and my soul, and my heart, and my thoughts – I love you.
an excitement at each turn of the page, become paramount. It’s worth remembering that including joyous, frivolous, melancholy, yearning, funny and tender poems side by side will add appeal and keep the reader’s interest piqued throughout the book. On the question of more intimate material, the poet makes an interesting point. He says of his collection: ‘Being only love poems, some will seem more personal than others. But… I believe they all will echo with people who are or have been in a romantic relationship.’ Further to this, Aurélien is planning to self-publish his collection, which allows him a very special opportunity. Although he is hoping that the book will have general appeal, it is written for one reader in particular. If he uses a print-on-demand service and wishes to do so, he can make a single very special copy for the key recipient, in which he could include photographs, facsimile material such as an occasional poem in his handwriting, and pieces that might be considered to be private, for the couple only. This can be done on a strictly ‘not to be shared’ basis, while the copies which would be available to the public would not have the more personal content. The poet’s decision to self-publish is based in part on prior experience. He writes: ‘I published another collection with a publisher back in France (where I am originally from) more than a decade ago, and I had such a bad experience (eg marketing...) that I would now rather keep control of my texts.’ The poet does not, however, exclude the possibility of taking his book to a commercial publisher at a later stage. In the meantime, the self-publication route will give him total control over all aspects of his collection, from the contents and appearance of the book to the timing of publication, launch events and stock management. Marketing will still be an issue – it always is – but it’s so much more rewarding when you are in charge. Let’s hope this publishing experience will prove to be a delight.
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Poetry in practice A starting point for a new poem from Doris Corti When leading poetry workshops and/or classes I am often asked to set a theme for students to write a poem about. Over the years I have given various themes but have now thought of a new one, so this will be an original idea for readers of Writing Magazine. Sometimes I have suggested a title or a line which can be the opening line or it may be placed somewhere in any line of the poem you write. This time the line given to write about is ‘The first day’. As I have said, this can be the opening line of your poem, or it can be placed somewhere in any other lines,or it can used in both these places. I have given you just three words and this is because you can build the rest of the sentence up yourself simply by adding on to them what your first day was or is. It might be ‘the first day I started school’, or maybe the ‘first day I started a new life’. From whatever your first day refers to you can go on to build the storyline of your poem. Think of things that brought you excitement, happiness, even a day of concern or sadness. Each of these emotions can become part of the lines and structure of your new work. Perhaps you will write a poem that is not about a personal event, but the first day of a certain season. Imagine describing spring or autumn – something on the lines of an Ode to Autumn, by starting as follows: Such an orange and gold time the first day of a changed month. The reds and yellows of it. The swish of leaves underfoot, bronze delight. I have set out four lines to illustrate ‘the first day’ of autumn and have placed the given three words in the second line rather than placing it as the opener. If these three words were used as a title for the poem, the repetition of them on the second line in this stanza would not be discordant and would emphasise the fact that it is the first day of a beautiful month.
Exercises Exercise 1 Use the three words I have suggested and write a poem to any form. The words can be your title or the opening line, or placed within lines to emphasise a certain image. Exercise 2 Using the words ‘I take time out’ write a poem with these words as your opening line or the title.
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Poetry from
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Poet Alison Chisholm guides you through the language of poetry UNSTRESSED SYLLABLES are those that don’t carry emphasis when spoken aloud. In words like become, arrange, declare, supply and avoid, the first syllable is unstressed. In garden, flying, ration, father and picture, the second syllable of the word is unstressed. If in doubt about which syllables are stressed and which unstressed, simply speaking the words aloud provides the solution. VANITY PRESS refers to any organisation that offers to publish your collection of poetry (or other book) when you pay them a ‘contribution’ to the expenses of publication. You will be told that you’re an undiscovered genius, a rare talent, a brilliant writer… or any other over-the-top superlatives, but that as high costs make it difficult for the ‘publishers’ to bring your masterpiece to public attention, you can achieve the publication you so richly deserve by making that contribution. You will, in fact, be paying the entire sum for the publication as well as a lot more for the company’s profits. If you go ahead with the deal, you will find that the company will not assist you in the essential task of marketing, not least because no good bookshop will stock work they’ve produced; and you are unlikely to make any money from your writing, as the vanity press company will have taken total control of your earnings as well as controlling just about every aspect of the book’s production. This practice is not to be confused with self-publishing, the legitimate process by which writers make a positive choice to produce their own book independently, taking on the task of preparing the book and doing all the work themselves, or buying in specialist services from a reputable print-on-demand company. They will not be told how amazing their writing skills are; they will go into the process with their eyes open and a realistic rather than rosy vision of the 56
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publishing scene. All rights to the book remain with the author, who retains all profit from sales. The VENUS AND ADONIS STANZA, named after Shakespeare’s poem that used the form, has six lines in a rhyming pattern of a b a b c c using iambic pentameters. This example has just one stanza, but any number of them can be used to create a poem.
There are six unwatched episodes of The Big Bang Theory that require my attention, and enough body lotion to bathe in to be consumed before I go. My presence is required to fill the hollow in my armchair, to feed the cat, pay the Visa bill, read my grandson his first bedtime story.
THE GIFT In intricately woven wool and silk the flowers adorn a precious, hand-made rug, pink roses on a field of buttermilk, as fine as filigree, warm as a hug. My palms sink in its softness, fingers trace its patterns, delicate as light-spun lace. EXERCISE: Write the description of an artefact in 1-4 Venus and Adonis stanzas. If you wish, extend the poem by introducing some action or describing your reactions in a further 1-4 stanzas. VERSE may be an alternative term for poetry in general, or another word for a stanza of a poem. A VERSE LETTER, letter poem or epistolary poem, may be written in any form. Its message is conveyed in the format of a letter. It could be written in your own voice, in that of a recognised character, or in a fantasy persona. DEAR DEATH … It can’t be my turn today. I’ve only knitted one arm of the sweater, only read two chapters of my murder mystery, and the doctor’s recently rhapsodised about my cholesterol count. www.writers-online.co.uk
There must be someone around with nothing to do, no-one to miss, or a dodgy diagnosis. Please knock my name off today’s list. Yours sincerely A Well Wisher EXERCISE: Create a poem in the form of a letter, addressed either to one individual from another or as an open letter to a wider audience. A VERSE NOVEL is a lengthy narrative poem, such as Samuel Taylor Coleridge’s story of the Rime of the Ancient Mariner, Alfred, Lord Tennyson’s account of Arthurian legend in his Idylls of the King, or Alice Oswald’s poem about the course of the river, Dart. A VERSE-PROSE mix is formed when a longer poem is divided into sections of poetry interspersed with sections of prose, resulting in stanzas of poetry in any form among paragraphs of prose. VERSIFICATION is the composition of a piece of poetry, particularly used of metrical and/or rhymed poetry. It can also mean the formation of a metrical version of a prose passage.
m, ER for T e EN OW minu.t 0. N s in arch d £5 ils
P O E T RY L AU N C H
a n m oe 5 M 0 a det t p by 1 £10 try i n bm are r e Su es 5 fo z i Pr e p9 Se
Just a m i n u te Alison Chisholm takes a moment to launch WM’s competition for minute poems
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any new forms of poetry have their genesis in America, and the next to be tackled for a Writing Magazine competition is one of them. The minute form was devised by Verna Lee Hinegardner, who was born in Illinois in 1919 and appointed Poet Laureate of Arkansas by Governor Bill Clinton in 1991, a position she held for twelve years. She died in Arkansas in 2012, having published a dozen collections of poetry. The minute form has sixty syllables – one for each second – and the content should reflect something that can take place within a minute in time. Minutes use the same grammar and presentation as prose, so they are written in grammatical, punctuated sentences, and it’s preferable to use capital letters to open each new sentence rather than every line of the poem.
LEAVE TAKING I look into your eyes and know it’s time to go, but cannot bear to leave you there. You’re old and ill and so afraid, and I’ve delayed, but now I stand and loose your hand. I kiss your cheek and turn away – wish I could stay. I leave; and sigh a last goodbye.
The poem rhymes in couplets and has twelve lines, so the rhyme scheme is: a a b b c c d d e e f f. The first, fifth and ninth lines of the poem have eight syllables each, and the other lines four each. Iambic metre is used throughout, so there are four iambi in the longer lines and two in the shorter ones, as demonstrated in this example about leaving an elderly, vulnerable patient in a hospital environment. There are two hazards built into this form for the writer to overcome. The first is the content. It’s worth taking some time to concentrate on creating a list of events that can take place in the space of a minute. Have fun compiling the list. Look at trivial ideas, such as boiling a kettle, putting on a pair of shoes, or paying the gas bill. Look at emotional ideas – a kiss, the declaration that you’re married, or watching as someone walks out of your life. Think of the earthshattering moments, such as the last minute of someone’s life, the duration of a car crash, or the minute of a baby’s birth. When you have compiled the lists, spend a few minutes exploring the potential of each idea. Can you put across everything you want to say in sixty syllables? Is there something you need to communicate to the reader about the situation? Try out a few different themes from your lists. You might find that the idea that seemed to be the most exciting loses something in the writing. The other hazard is the problem of rhyming. A minute brings the rhymes very close together. There is no wriggle room for playing with language or for building up to the rhyme sounds. There are nine lines that allow the space of only three syllables before the rhyme is reached. Be prepared to explore www.writers-online.co.uk
and experiment, checking for vocabulary that reads logically and naturally, without any force. Be prepared to go back to the drawing board several times over. There are some rhyme issues that we shy away from automatically. Wrenching the syntax to place the rhyme at the line’s end is one example, and substituting a slant rhyme where full is demanded is another. An additional one to be avoided in the minute is the repetition of any rhymes. When there are just six rhyming couplets occurring in such short lines, it would really grate if the same rhyme sound were used in more than one couplet. Even though this is a very short poem, don’t forget that the revision process is just as important as it would be for an epic. In fact, it may be rather more arduous. The tautness of the writing means that every tiny hiccup in wording, rhythm, metre or rhyme will draw attention to itself. Don’t be alarmed if it takes longer than you expect to work on the twelve lines. The brevity and the minute-in-time requirement mean that it’s especially important to allow yourself plenty of space between producing the first draft and the competition deadline for submissions. This is a form that truly benefits from being rested between re-drafts. If you can leave it for a few days before you look at it again, you will bring fresh, critical eyes to the manuscript and be able to develop it objectively. There’s just one further word of warning about writing minutes. They’re addictive. So when you’re completely happy with your competition entry, submit it with confidence... and then go back to your notebook and start the next minute. Good luck. FEBRUARY 2019
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Home Study Course Started A 20-Year Writing Career “The flip side to this is that I became inundated with work at various points in the course,” explains Heather. “This is because, if you have an article accepted by a magazine then it makes sense to follow it up with another while your name is fresh in the editor’s mind.”
“I’m sure that without The Writers Bureau I would never have had the confidence to self-publish my first novel. They taught me valuable skills, which I put to good use every time I write. I am now lucky to be earning a living doing something I love, and it all started when I studied the Creative Writing Course.”
Can creative writing really be taught? Manchester based author, Heather Burnside, is proof that it can. She says, “the skills I gained on The Writers Bureau’s course have been invaluable. During my studies I learnt writing techniques that have stood me in good stead as an author and copywriter. It gave me the knowledge and confidence to pursue writing as a career.” The course is very practical and students are encouraged to submit work to publications as soon as their tutor feels they are ready. This means students can start earning from their writing very quickly. The Writers Bureau take this side of the course very seriously and even offer an amazing money back guarantee if students don’t earn their fees back from published work by the end of their studies.
Even though she was enjoying her work, Heather’s heart lay with writing a novel. So, after a while, she dusted off her original manuscript, reworked it, changed the title and her first gritty crime novel, Slur, was created. She independently published it on Amazon in 2014, shortly followed by two more books making up the The Riverhill Trilogy.
How To Be A Successful Writer! As a freelance writer, you can earn very good money in your spare time, writing the stories, articles, books, scripts etc that editors and publishers want. Millions of pounds are paid annually in fees and royalties. Earning your share can be fun, profitable and creatively fulfilling. To help you succeed, we offer you a first-class, home-study course from professional writers – with individually tailored tuition and expert personal guidance from your tutor. You learn about writing articles, stories, novels, romances, Embark on an exciting writing journey of your own for only £444 (instalment terms available).
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In 2016 Heather was signed to Arial Fiction at the Head of Zeus. They published her second set of books, The Manchester Trilogy as well as republishing The Riverhill Trilogy. She’s just recently signed another three-book deal with them.
historicals, journalism, writing for children, radio, TV, the stage etc. You are advised on style, presentation, HOW TO SELL YOUR WRITING, copyright – and much more. In short, you learn how to be a successful writer. If you want to find success as a writer, this is a way to start! It’s ideal for beginners. No previous experience or special education required. You can earn while you learn. Details free. Full refund if not successful. Visit our website or call our Freephone number NOW!
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For those wanting to explore creative writing as a career option then The Writers Bureau Comprehensive Writing Course is a good place to start. It covers all types of writing from articles to short stories, novels to scripts so people can discover what they’re good at and where their passions lie. Information is free and you can enrol on a 15-day trial to make sure the course is for you. Visit their website or call them today! You never know where it will take you. www.writersbureau.com 0800 856 2008. Please quote EE219 Please send me free details on how I can become a writer. No stamp required. We do not share your details with others.
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Heather Burnside took a home study Creative Writing Course with The Writers Bureau in 1999. 20 years on Heather is still writing and has recently signed another threebook deal with Aria Fiction at Head of Zeus.
During the course Heather wrote the first three chapters of her book, Nightclubbing, drawing on her experiences of growing up on one of the toughest estates in Manchester. At the time she approached several publishers but no offers were forthcoming. Undaunted, she continued writing articles as well as setting up a writing services business offering proofreading and copywriting.
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little kids Are you hoping to run author events with your young readers? Amy Sparkes shares invaluable insider advice ave you written a book for young children, but shy away from events? Perhaps you held one, which didn’t go according to plan? Or maybe you don’t know where to start? It’s wonderful to see children engage with your story and to encourage them on their journey into the world of books. Events may also increase your readership and boost your sales. With preparation and confidence, you can run a successful session. Here are some tips to make your event go smoothly.
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WHERE TO GO? • Schools and groups Educational establishments are a good place to start. You won’t have to do time-consuming publicity to draw in an audience, although you could do a postevent press release for a local newspaper. There may be a budget to pay for your visit. However, if you’re running the event to accompany a book launch, you could consider some complimentary visits, marketed as part of an organised book tour. These are great practice for bigger events and can allow you to try different things out. Make it easy to arrange book sales, such as emailing over an order form in advance. Leave space for parents to write dedication messages – don’t assume it’s for the child who is bringing it home. If you’re 62
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traditionally published, you might be able to order copies of your book at a discount (often 50%) and take these in to sell. Alternatively, you could ask a bookshop to accompany you. It’s also helpful if you can tie your book in with the pre-school syllabus. Talk to teachers about preferences and email over worksheets in advance so they can print enough resources.
• Bookshops Many bookshops are child-friendly and have a children’s corner. A member of staff will usually be available to help during events, which can be invaluable (and also someone to talk to while people come and go). You can’t guarantee a good turnout but as a successful event is in the bookshop’s best interest, too, hopefully they will help promote the event.
• Libraries Many libraries are dynamic, with useful resources, publicity outlets and ideal venues. Some run storytimes and staff may welcome you to share your story there. In the past, some libraries had budgets for visiting authors, however, cuts mean this is extremely unlikely now. Most are happy for you to arrange book sales after an event. If you do, ask whether a staff member can help, while you juggle books, pens, small children and conversation with parents.
• Literary events Being invited to visit a literary festival is a huge compliment and a huge opportunity. You can use this event to connect with your readership, have fun, and gain publicity along the way. On top of this, festivals are increasingly willing to pay for the event itself as well as travel and accommodation. (The amount varies greatly from festival to festival.) If you do appear at festivals, it’s important that you’ve thought about your presentation and perhaps ask the festival what kind of thing they have in mind. Just reading the story and doing a simple activity may not be sufficient, especially as they’re probably charging for tickets. They may prefer something more interactive, perhaps with interesting props, costumes or songs. It can seem intimidating, but it’s a good opportunity to think creatively about how to introduce your book in a fun way. If you can, visit other pre-school events at festivals and glean ideas for your own sessions.
• Independent events You can also arrange events independently. This works especially well if your book has a certain topic which would benefit from special locations, such as a farm or castle. Once I held a Pirate Blunderbeard book launch in a Napoleonic fort, complete with cannons everywhere,
WRITING FOR CHILDREN
and it certainly added to the atmosphere of the event. However, do bear in mind that arranging an independent event can be costly (such as venue hire) and timeconsuming. Also, if you are a debut or relatively unknown author, your event may not cover costs, and venue hosts won’t necessarily promote the event, especially if they already have plenty of customers coming in.
SPREAD THE WORD Link closely with children’s centres for under-fives, libraries, community centres, playgroups, pre-schools, toddler groups and local attractions for young children. Many places will be happy for you to put notices in newsletters or posters on noticeboards. You can also ask permission to leave flyers at strategic places, such as soft play centres. Be aware that touring around the area with posters and flyers can be very time-consuming, so recruit volunteers to help if possible. You can also advertise the event in local newspapers and online. If your event is outside your own area, try advertising on www.wherecanwego. com. Google local promotion websites, such as Visit [insert place name] or What’s On [insert place name].
BE PREPARED • Work out a schedule Little ones are very wriggly with short attention spans. Events for pre-school children should be between thirty minutes and one hour long, depending on the group. For example, a toddler group will probably last a maximum of thirty minutes, whereas a pre-school session may last 45 minutes to one hour. Create and memorise a schedule beforehand. That said, it’s also important to be flexible, as things don’t always go according to plan. Work with the children, not against them. If you’re suddenly bombarded with questions when you were meant to be doing a group drawing, just go with it. Meet the children where they are, and they (and you) will gain more from the experience. However, don’t be afraid to gently rein in the session if things become unfocused.
• Rehearse As you go on, you may prefer a more spontaneous performance, but at first,
• Activities
it can help to be well-rehearsed, in case nerves get the better of you. Practice reading your picture book as if you were showing it to a group of children. Know it by heart, so you don’t have to keep looking at the page for cues. You don’t need to read it straight – try different expressions, sound effects, voices, movements, to give it a dynamic feel. With Ellie’s Magic Wellies, I acted out the story whilst showing the book, hopping in and out of the different characters by crouching behind a table or disappearing behind a screen. I used different voices, different costume props, and it went down a treat. I found the children (and parents) particularly attentive, because they didn’t know quite what was going to happen next. But, to pull this off, I had to create a stage plan – working out which prop needed to be left where, how I was going to change character, and so on, to create a hopefully smooth performance. Does your book lend itself to something like this?
After you’ve read your story, run some relevant activities, especially ones which give children something to take home. Gluing and colouring always go down well, but if your event is in a bookshop or other venue, always check if it’s okay to use things like glue and glitter. Sellotape and crayons may be safer alternatives. Try creating a few different activities (if you have a publisher, they may help) to meet various abilities or interests. Colouring sheets, dot-to-dots, or drawing sheets are simple and quick. You can also do more involved activities like making character puppets and story-related craft. If you create your own materials, include book details and acknowledge the illustrator. If possible, include your website or social media details somewhere. When we created magic puddles for Ellie’s Magic Wellies, I printed up some labels to stick on the back. You can also run story consolidation activities. Not only do these deepen understanding of the story, it’s also great for the children to be more active, especially if they’ve been sitting for a while. With Do Not Enter the Monster Zoo, we design a monster character together on a flipchart. The children suggest ideas, and we act out the feature, such as chomping ‘sharp teeth’ or flexing ‘claws’. With The Mouse Who Sailed the Seas, which has lots of repetition, the children stand up and join in telling the story, acting out the different characters along the way. What special activity could your story offer?
• Forewarn helpers Make sure teachers or leaders know in advance about activities you’re running, so they can have the necessary equipment, materials or space available. This not only saves time, but crucially, also reduces the likelihood of children losing focus and momentum.
• Engage Keeping your audience engaged will help them gain more from the experience. If your story has sound effects, onomatopoeia, or repetition, encourage them to join in. It helps if you give some warning, perhaps practicing together before you start reading. For example, when I read Robo-Snot, about a sneezing robot, we warm up with sneezing – it’s loud, fun and gets the children into the story. If it’s a smaller group, you can ask questions as you go, ‘What do you think will happen next?’, but keep it minimal so you don’t slow the pace too much. Invite questions at the end. Although it’s important to specify, ‘about the story’, still expect things like, ‘I have a pet rabbit at home called George.’ Acknowledge, engage, and bring the focus back, for example, ‘Has your rabbit ever sneezed?’ or ‘Have you got a toy robot at home?’
Running events for little ones is hard work, but incredibly rewarding. With preparation, creativity and a sprinkling of self-belief, you’ll get just as much out of it as they will.
Top tips redictable. • Be flexible: Little ones are unp inside out, y stor r you w • Be prepared: Kno ad. thre r you up pick ly easi so you can the children. with tact con eye p Kee dly: frien • Be their attention, ing hold isn’t • Be aware. If something nda. age the on g thin t nex move on to the methods of or ities activ rent diffe Try : • Be creative delivering your stor y. can happen? • Be brave: What’s the worst that
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N E W AU T H O R P R O F I L E
Expert advice to get the details right in your crime fiction, from serving police officer Lisa Cutts
Q
If your house becomes a crime scene following a murder and you have to move out, do the police pay for temporary accommodation, say in a bed and breakfast?
the police should make sure that the occupants have A Firstly, somewhere to stay. If all of the usual options such as relatives and friends are exhausted the police may pay for accommodation. I’ve taken witnesses to hotels and booked them in with the DCI’s credit card. He did know I was doing this. Having said that, budget restraints and austerity would all be huge issues. For fictional purposes, I would say go with whatever suits your plot. Be aware that the police have a duty of care so would have to make sure those removed from their home, had somewhere to stay.
Q
What are the criteria for an appeal to be considered?
appeals against conviction rather than sentence, there are a A For number of options but would include evidence left out of a trial,
If you have a query for Lisa, please send it by email to enquiries @ lisacutts.co.uk
meaning it wasn’t a fair trial, the summing up by the judge as the jury might have been misinformed, or the police failing to disclose some information that might have had an impact on the defence. Recent cases in the media where a defendant’s phone wasn’t downloaded or reviewed are such examples. Appeals against sentencing carry the risk for the defendant of an increase in a custodial sentence as well as a decrease.
Q
How are forensics from a crime scene stored and kept?
items seized, including forensics, are retained. There are few A Most exceptions to this as most exhibits can be frozen and kept for a trial and any subsequent appeal. Space is always a problem so anything that can be sent for long-term storage is removed to make place for the latest murder. Boxes of exhibits are always taken to court in case required by the prosecution, defence, judge or jury. Frozen exhibits, such as human tissue, aren’t taken to court. If the defence want to examine or have frozen exhibits examined, it’s something they would have asked for before the trial for obvious practical reasons.
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s ’ r e t i r w e Th roadmap s writers, we’re all used to the nebulous and frustrating world of ideas. Sometimes in life there are simply too many and you end up being utterly unable to settle on one, while at other times there are horrible barren idea-free spells, which leave you deeply frustrated. Some ideas appear great from a distance but disappoint as you explore them more closely, whereas others that seem initially unpromising end up being the most exciting. And let’s not forget the way new ideas can pop just as you’re getting deep into a tough part of your work in progress, luring us away to new climes of story with their siren song… Yes, ideas are probably the most ethereal and elusive part of the life of the writer, and that’s what this article is about – or, more specifically, how you can try and ensure that idea turns into a winning plan that gives you every chance to write a fantastic story.
Getting ready for the journey Warning: extended metaphor ahead! In my writing classes, I’ve always compared writing a novel to being like a long drive to an unfamiliar destination. A short story is more like a brief hop in the car from one place to another, which makes it harder to get significantly lost. A ‘roadmap’ is crucial for a novel because it allows you to set out from your destination – the opening chapter – to your final objective, the conclusion of your 66
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Working out how to get from idea to synopsis? Alex Davis helps you plan for the journey ahead
story. Without it, it’s all too easy to get so lost that you’ve taken twice as long to reach your conclusion as you needed to, spent far too long on ultimately pointless detours or worst of all given up entirely halfway through the journey. Yes, a strong plan – a clear roadmap – is important for a great novel for sure. Still, with all that said, it begins with an idea – but there are a number of steps to consider in between – a stage of getting ready for the journey before you set off at all.
Exploring the idea You could consider the idea phase to be like the initial concept for a holiday or day out – where do you want to go, and how do you want to get there? Is it something you’re going to enjoy, and is the destination going to make the journey worth the while? As such, setting out on your writing journey with an idea that is half-baked is not ideal. Of course your first capture of the idea can be a few words, a sentence, a scribble – but that’s not enough background for this kind of journey. One of the most important things to do first of all is to try and flesh out the idea, and I’d suggest some of the following as a way of adding a little meat to something that might begin life in a pretty incorporeal state. What genre is the story going to be? Identify where the idea – when completed – might live in a bookshop. Are there other authors writing similar kinds of things? What’s the theme? What subject www.writers-online.co.uk
do I want to talk about, and what is it I might want to say about it? Where would the idea be set? Is it present day, the future, the past? Is it a location familiar to me, or a part of the world I’ve never been to? And will those things involve any research? What will the tone be? Is it likely to be scary, funny, sad, happy, uplifting, ambiguous? What feel am I going for and what mood might the story create in a reader when written? Are there things that I can take in that will help me develop the idea? There may be books, films, TV shows or bits of music that will chime with what you are trying to do – have a read, watch or listen and see it any of them can help to further develop your idea. The more goes into the melting pot at this early stage, the better – it can really enrich the final product. These are all things that I suggest doing before you firmly decide on a destination or a route – namely, ‘what kind of journey do I want to have’ rather than necessarily ‘where do I want to end up’. This is something that will come a little later. To extend the metaphor yet again, if you were planning a holiday you would likely decide you were going ‘somewhere sunny’ before settling on a particular glorious beach location.
Gauge the distance and the key points A common complaint that I hear from writers is ‘I know where it starts, and I know where it ends,
FICTION
but I don’t know what’s in between.’ I wouldn’t even consider that a complaint really – effectively that’s how all journeys begin, with a sense of where you are setting out from and a knowledge of where you want to end up. These things will be effective in providing a sort of ‘frame’ around your story, two narrative bookends that can help to keep the story contained. And honestly these are two things that rarely change at any point in the planning process – even though everything else can be extremely malleable. Write those down and keep them, because there is a fun process of figuring out the route between them. The other thing that having these two points will enable you to do is get a sense of how long the story might be – how dramatic a change is it for the character(s) you want to introduce early on to get to that end point? If you feel like the change of circumstances or location for them are not necessarily massive, you might feel as though you have a short story or a novella at that point. If you get a sense of a large, sprawling, epic journey then you are almost certainly looking at a novel.
Do your research – if you need to Not every story – or journey – will require much research on your part. But again, even identifying this start and end will give you some clues as to whether you are heading over very familiar terrain or into distinctly unfamiliar territory. I would certainly advise that if you feel like you need to do some research to really deliver the story, before you begin is the ideal time to do it, as this will save on breaks in the writing process – the equivalent of having to pull over and stop to check something out before heading on. Sure, it can be done, but what if you find you’ve gone down completely the wrong road by not doing that advance research? The journey you had intended might simply not be feasible anymore, which would be a waste of time and effort on your part as a writer. We’re all keen to
set off when there’s an exciting journey at hand, but preparation and planning are important to that going smoothly.
Your route plan
Develop your landmarks
• STARTING POINT/JOURNEY ORIGIN
So you’ve come up with an idea, looked at it from various angles, decided it’s a worthwhile venture, settled on a starting-out point and a destination and also done whatever forward planning is needed. The next thing is to try and pin down your landmarks. That will help you to delineate your journey and that will tell you clearly you are on the right track. You might already have a specific key scene or two in mind, and that’s a great head start to have – those are the exact kind of story ‘landmarks’ we’re talking about. Where would they go in your story ‘journey’? A quarter of the way in? A third? A half? 90% in, right as the conflict is coming to its conclusion? Once you have one or two of these down on paper and placed, it then gives you freedom to start developing more landmarks around them. You can then start to identify what comes before them and comes after them, and like a strange jigsaw starting somewhere in the middle the pieces will all fit into place. If you don’t have any key scenes in mind, here’s an approach that can help – going from the start of the story can seem very off-putting, maybe a bit intimidating, to a writer. Instead, why not consider what happens immediately before your destination – what comes right before your ending? If you can figure out what precedes that, it can be a process of working backwards towards the start of your journey – and again, once some of those landmarks towards the end of the journey are in place, others might suddenly become clear to you. As a rough guide, I tend to scribble the following to allow me to identify at least four key ‘landmark’ scenes. There could of course be more than this in your story, but this helps me because it breaks the story effectively into smaller parts – the route to landmark 1, then from landmark 1 www.writers-online.co.uk
• LANDMARK SCENE 1 • LANDMARK SCENE 2 • LANDMARK SCENE 3 • LANDMARK SCENE 4 • FINISHING POINT/DESTINATION
to landmarks 2 and so on. Using this as a framework has always allowed me to move from an idea to a completed plan in a fashion that feels logical. It’s effectively a ‘step-by-step’ process that has never felt overwhelming. Sometimes writers place too much pressure on themselves to do things too quickly, or for an idea to simply be ‘magic’ and ‘write itself ’ – something that in real life unfortunately never happens. Approaching an idea in a measured and considered way before forming it into something more substantial – without worrying or panicking at any stage about what you don’t know yet – can be immensely helpful for any writer.
The writer’s satnav? Yes – I can feel a number of you out there asking: ‘who uses a roadmap any more when it’s all digital these days?’ I suppose that’s hard to argue, but there’s a final point in even that analogy – you should always have an idea of where you are heading to, but as is so often the way with writing, the route might change on the way if you see an interesting story ‘detour’ or a potential new route. That’s the point where you put the roadmap to one side and think about what the value is to this new route. Does it have the hallmarks of a deadend, or is it in fact going to make for a better journey all around? Yes, your roadmap – your plan – should ideally always be up to date, but that equally doesn’t mean you can’t ‘recalculate’ the route as you go along, provided the destination is always in mind. FEBRUARY 2019
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Get y o u busin r ess writi ng fit Simon Whaley helps you get your writing business fighting fit for 2019 ell, 2018 certainly turned out to be an interesting year for some writers, especially those targeting the womag (women’s magazine short story) market. Carol Bevitt’s excellent article, Womag Rights (WM, Sept 2018) illustrated just how easily a writer’s business world can be turned upside down when a magazine or publisher (in this case TI Media, owners of Woman’s Weekly) change their contracts. Our writing business can only survive if we are happy to supply what our customers want at the price and terms they demand. In the case of Woman’s Weekly that particular customer wanted all rights in any content supplied, and paid less for those extra rights. Markets are changing all of the time, so what steps can we take to keep our writing business fit for 2019?
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The Pareto Principle The Pareto Principle is also known as the 80/20 rule. In 1896, an Italian economist called Vilfredo Pareto noted that in Italy, 80% of the land was owned by 20% of the population. This 80/20 relationship can also be 68
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seen in many areas of our lives, and if we examine our own writing business closely we can often find it here too. For many writers, some 80% of our income will come from 20% of our clients. Inversely, the other 20% of our income will come from the other 80% of our clients. It makes sense to focus our efforts on those 20% of our writing business clients, who help bring in 80% of our income. However, the change at TI Media and Woman’s Weekly also demonstrates the risks that exist when 80% of our writing business is reliant upon 20% of our clients. Lose one of those key 20% clients and we’ve lost a lot, if not all, of that 80% slice of our income. So, take a moment to review your writing income for 2018. How much did you receive in total? How many clients did this come from? Work out as a percentage how much of your income was generated from each of your clients. Then consider what the impact would be if, for whatever reason, you were unable to continue working for your biggest clients? This is why it’s worth nurturing new clients and building upon existing relationships. Those other 80% of our clients are just as important, because one or two of them could become part of our 20% customer base in the future. www.writers-online.co.uk
These are the customers who could save our writing business in 2019.
Return on investment As writers, we’re often more interested in the creative process than the business process. We tackle projects because they grab our imagination. An intriguing idea can galvanise us into a flurry of action, as we take ourselves off to a quiet corner and start scribbling in a notebook, or tapping away at a computer. But have we considered whether that writing project makes business sense? Is the
Business exercises for 2019 1 The 80/20 stretch: Identify which of your 80% customers you could develop into some of your 20% clients. 2 Counting calories: Calculate your minimum hourly rate, so you can benchmark which writing workouts are financially viable. 3 Flex more writing muscles: Exercise your whole writing business. Broaden it to include more than one type of writing. Have more than one specialty. 4 Repetitions: Go through your published portfolio. Look to re-use/repeat that content in other ways to generate an income. 5 Feel the burn: Maximise your writing time. Squeeze every potential business opportunity from every hour of writing time.
T H E BU S I N E S S O F W R I T I N G
financial return on the time we invest in a particular project worth it? That doesn’t mean that we need to sit down and produce a business plan for every writing project. But it’s important to consider how much the project will earn us, and how much time it’ll take us to do. Now, that’s not easy for some writing projects, like novels. But for many others, like a non-fiction book, short story, or article, it is possible to do some number-crunching. First, though, we need to know our hourly rate. For example, if you secure a commission to write an article for a local county magazine, which pays £75, and you think it will take you five hours to research and write it, it means your writing business is generating £15 an hour. If you know your minimum hourly rate is £10, then this writing job makes good business sense. And if the research takes slightly longer than planned, so you spend seven hours tackling the project instead of five, you’ve still earned more than your minimum hourly rate. Calculating our minimum hourly rate is straight forward. Simply add up the total number of hours you can allocate to your writing business each week, and then multiply it by 52 to determine your annual hours. (If you want four weeks annual leave each year, then multiply your weekly hours by the remaining 48 weeks a year.) How much do you need to earn (or what are your total costs that you need to cover) in that year? Divide this figure by your annualised hours. A full-time writer, working forty hours a week and 48 weeks a year will have 1,920 working hours a year (40 x 48). If that writer needs to earn £25,000 a year, it means their hourly rate is £25,000 divided by 1,920 hours: £13.02 an hour. The calculation works for parttime writing businesses too. If you can devote seven hours a week to your writing, that’s 336 hours over 48 weeks. If you need to earn £4,000 from that one day a week, then you need to earn £11.90 an hour. Knowing our hourly rate helps put a business perspective on every job, whether it’s speculative, or commissioned. If a project is going to take fifteen hours, and our hourly
rate is £11.90, then we know that this writing project needs to earn us at least £178.50 (15 x £11.90).
Creative portfolio Being armed with this hourly rate information can help us develop a varied and creative portfolio to our writing business. For example, if we need to earn £15 an hour, and we undertake a job that earns us £30 an hour, that then gives us some flexibility. We can afford to take a lower hourly-rate job, one that we might not have considered before, if it’s a creative project that excites and inspires us. Alternatively, it can help us buy some speculative writing time. Writing novels, or self-publishing material earns us nothing during the writing process, and we don’t even know if it’ll earn us anything at all when it is eventually published. But if we know we’ve already earned enough money on a previous job to pay for a few hours work on a more creativelyinspiring job, then that removes some of the financial pressure. Look for other writing-related work that could become part of your business portfolio. Running workshops, editing and proofreading, or attending author events can all help generate an income. Not only does it help spread the risk should one of our customers decide to change the way they operate, but it can also buy us the time to spend on the projects we really want to write.
Asset turnover Other businesses exploit their assets to their maximum potential. It’s all about squeezing as much money out of one asset as possible. The owner of a bouncy castle doesn’t hire it out once – they hire it out over and over again to generate more income from the same asset. We need to do the same, and I don’t mean we should all go out and buy a bouncy castle (although, wouldn’t it be fun?). One major asset we have is the content we create. Re-use it, where you have the right to. Many short story writers create electronic anthologies (via Amazon Kindle and Smashwords) using stories first published in women’s magazines www.writers-online.co.uk
or tales that won or were placed in competitions. Having sold the story once to a magazine, or collected some prize money, they then have the opportunity to sell it again in their own short story anthology. But don’t stop at one anthology. Create more. Once you’ve produced one anthology, create anthology 2. Start on anthology 3 when you’ve published your second collection. However, that’s not the end of the asset exploitation. Now you can create a box-set of all three anthologies. Sell your single twenty-story anthology collections for £1.99, or the box set of three anthologies for £3.99. More products means more chances for generating income. Such asset exploitation works for non-fiction too. Many of my walks in my book Best Walks in the Welsh Borders were first published in magazines. I’d already spent time walking the route on the ground. Exploiting a book from the article research made good business sense. Not only was I paid for the articles, but the book earned me an advance, and then royalties, along with some useful PLR money.
Time exploitation Another major asset we have is time. We all have this asset, irrespective of where we are in our writing business. How we exploit it, though, can impact our writing business. Always consider how to make best use of your writing time. When I’m sent on a press trip, I look for as many writing opportunities as possible. A three-day press trip for a £150 article is not a great rate of pay. But during that press trip I gathered enough information for an additional three articles (so far) earning a total of £950. Had I stuck with the one article I was commissioned to write I’d have earned an hourly rate of £7.21. But by exploiting my time efficiently, I changed that to an hourly rate of over £45. The writing business can be fickle at times. There’s always an ebb and flow of money and work. But to keep it going we need to stay on our toes, poised to jump at the next opportunity when it arises. We also need to adapt. My writing business today is very different to the one I had fifteen years ago. Keeping business fit is part of the fun. FEBRUARY 2019
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RESEARCH TIPS
Music Get tuned in to music research with expert advice from Tarja Moles usic research covers numerous different aspects, such as history of music, different genres, composition, various music-related skills and techniques, music theory, instruments, music industry, psychology of music and music in politics. Subsequently, there are different ways that you can approach your research. Before you start Googling randomly, step back for a moment and define what it is exactly that you’re looking for. When you’re clear about this, it’ll be easier to decide how to get that information most effectively. Also, don’t forget to do some background research. This will help you get a better understanding of your research topic. It’s likely that you’ll need to combine at least two, if not more, sources and/or research techniques to get answers to your questions. For example, if you’re interested in Mozart, you should acquaint yourself with his basic biographical details at the bare minimum as well as listen to at least a few of his compositions. The deeper your research goes, the more layers you can add. If your focus is on Mozart’s musical output, study his composition style in more depth. Or if you want to determine how his environment influenced him, read more about his personal life and about the society within which he lived. As you get more into your subject, don’t be afraid to explore resources that you’re not so familiar with.
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Online material The internet offers a huge amount of material for music research. You can read textual sources, listen to audio material and watch videos. There’s also a huge number of sites dedicated to different music-related topics. There are information sites, such as those devoted to musicians (eg the Glenn Gould Archive, https://writ.rs/glenngould), those focusing on different types of music (eg the Red Hot Jazz Archive, www.redhotjazz. com, contains information on the history of jazz before 1930) and those keeping track of popular music charts (eg the Official Charts
at www.officialcharts.com). There are online music archives (eg Live Music Archive, https:// writ.rs/livemusicarchive) and music databases (see a list at https://writ.rs/musicdatabases). Use a search engine to find the type of site that’s most useful for you. Remember to be as specific as possible when you’re typing your keywords – otherwise you may have to trawl through a very long results list.
Libraries, archives and museums Local libraries stock music-related books under the Dewey Decimal Classification numbers 780-788. They usually also have a section of audio and audio-visual material. Although some large public libraries’ selections are fairly good, they may not always be sufficient. If you can’t find what you need from your local library, do an online search to locate specialist libraries, archives and museums. There are numerous institutions around the country that offer different kinds of music courses. These tend to have well-stocked libraries that you can take advantage of. For example, Leeds College of Music has a library that holds around 8,000 books, printed music and audio material in the form of CDs, DVDs and LPs. It also gives access to online scholarly journals, reference material and music streaming sites. You can explore its holdings at https://writ.rs/lcmlibrary. The British Library is great for music research, especially if you’re interested in historical aspects. Its collections include printed and manuscript music, music recordings, concert programmes and a large selection of books and periodicals. To make the most of its resources, start by exploring its subject guides (https://writ.rs/2blmusic), then follow the advice and links that are appropriate for your research. Some of the British Library collections can be accessed online so you may not even have to visit the library itself. Examples of such materials are the digitised manuscripts (www. bl.uk/manuscripts) and music recordings on the British Library Sounds page (https:// writ.rs/blsounds). While the former contains scanned copies of many famous classical music composers’ original works (eg Mozart, www.writers-online.co.uk
Handel and Schubert), the latter has popular and classical music sound files. There are also music-related museums that can be useful. For instance, the Royal Academy of Music (www.ram.ac.uk/ museum) has both permanent and changing exhibitions, and there is a library that the public can use for reference purposes by appointment. Although many music-related museums tend to revolve around classical music (especially in continental Europe), it’s by no means the case for all of them: The Beatles Story (www.beatlesstory.com) is the world’s largest permanent exhibition on the Beatles and their history while the British Music Experience (www.britishmusicexperience. com) presents the story of British music through performance, instruments, costumes and other memorabilia.
Listening and learning by doing Music is a wonderful subject to research experientially. Listening to music, playing an instrument, writing lyrics, composing music or doing anything musical can help you access another level of appreciation and understanding of your research topic. If in any way relevant, see if you can include an experiential aspect to your research. Even if you don’t consider yourself musical as such, you can always learn new skills. Learning by doing will help you gain a different perspective that you can then use in your writing. To get started, make use of free online courses, YouTube videos (www. youtube.com) and other learning materials you can find on the internet. Have fun!
This column has only scratched the surface of music research. If you’d like to learn more, take the Open University’s free online course, An Introduction to Music Research (https://writ.rs/ oumusicresearch). It will help you dig deeper and give you more ideas and tools that you can use in your own research.
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Editorial calendar 2 May 1 May International Workers Day, though not a major event in the UK, has been celebrated worldwide on 1 May since 1889
The QE2 ocean liner set off on its maiden voyage to New York 50 years ago
1 May Excavation of the Sutton Hoo treasure of Anglo-Saxon artefacts began in Suffolk 80 years ago
4 May Margaret Thatcher became the UK’s first female prime minister 40 years ago.
6 May The Channel Tunnel was opened 25 years ago
Birthdays and anniversaries Celebs to celebrate or commemorate this month include: 1 May Filmmaker Wes Anderson, born 50 years ago 3.......... Folk singer Pete Seeger was born 100 years ago. He died five years ago, in January 2014 4.......... Screen icon Audrey Hepburn would have been 90. She died in 1993 7.......... First Lady of Argentina, Eva Perón was born 100 years ago 9.......... Singer Billy Joel will be 70 10........ Hollywood dance legend Fred Astaire was born 120 years ago 13........ Tough-guy actor Harvey Keitel will be 80 14........ Actor Cate Blanchett will be 50 16........ Flamboyant pianist Liberace would have been 100. 22........ Sherlock Holmes creator Arthur Conan Doyle was born 160 years ago 25........ Actor Ian McKellan will be 80 26........ Labour leader Jeremy Corbyn will be 70 31........ American poet Walt Whitman was born 200 years ago
9 May Wet Wet Wet’s version of Love Is All Around was released 25 years ago. It was No 1 for fifteen weeks, the record for a UK chart-topper by a British act.
16 May The first Academy Awards, or Oscars, were presented 90 years ago
21 May Queen Victoria officially opened the Manchester Ship Canal 125 years ago
Looking ahead 2021 will mark the 250th anniversary of Scottish novelist Walter Scott, less read now but wildly popular with 19th century readers for his historical novels.
Pics: International Workers Day, CC-BY-SA 3.0, N Maksimov; Margaret Thatcher, CC BY-SA 3.0, Rob Bogaerts; Pete Seeger CC BY-SA 3.0, Anthony Pepitone; Billy Joel, CC BY-SA 2.0, minds eye/Flickr; Harvey Keitel, CC BY 3.0, David Shankbone; Cate Blanchett CC BY-SA 3.0, Georges Biard; Liberace, CC BY-SA 3.0, Allen Warren; Ian McKellen, CC BY-SA 2.0, Gage Skidmore; Jeremy Corbyn, CC BY-3.0, Chris McAndrew.
Strong forward planning will greatly improve your chances with freelance submissions. Here are some themes to consider for the coming months.
COMPUTER CLINIC
Fit FOR PURPOSE Your tech problems solved, by Greta Powell
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his month we return to the sometimes rocky but always rewarding world of digital book publishing. What is the best way to stop objects such as graphics repositioning themselves when being exported via ebook format to external software such as the Kindle mobi format? We also look at one of InDesign’s new features which provides the ability to resize multiple pages in a long document quickly and easily. And, finally over to Wordpress where we look at plug-ins, namely Yoast which takes care of the SEO on the site.
course your choice to decide how much this is. This could be a very tedious process if you had to do this on every subsequent image throughout your document. However later versions of InDesign now include the ‘Preserve Appearance from Layout’ at the top of the object box where you simply click the drop down arrow select ‘Use Existing Image for Graphic Objects’ and the settings are applied to the graphics throughout the book. If you have a technical or computer query for If you have one of the older Greta, please email info@ versions of InDesign then you gretapowell.com or use have to use Object Styles to the website contact page apply the formatting throughout at www.gretapowell.com/ the document. There is a quick contact but succinct tutorial available on Recently I prepared Youtube at https://writ.rs/indobjects a very simple ebook Kindle has its own format so of text and minimal there is some conversion involved graphics in InDesign, destined for from epub to mobi but Amazon the Kindle. All seemed well until I have an InDesign plugin available looked at it in the Kindle viewer and onsite which converts directly from noticed that the images were not InDesign. It’s available at https://writ. positioned correctly. In fact, they rs/kindesign were all over the place. I have heard lots of solutions for this problem, but I wondered what you would suggest. Having spent a lot of time laying out a book in InDesign which, Although there are various incidentally, looks perfect, I have just ways to ‘anchor’ images in found out that it has the wrong page InDesign for this particular dimensions. In order to submit it for job one of the quickest and easiest print on demand it must fit specific ones is to use the Object Export measurements. There are over 120 Options box, which is found under pages in the book which obviously the Object menu. With the document would make this a mammoth task. open you will need to make sure that Do you have any suggestions to help? you have the image selected using the Selection Tool (the black arrow, not the white one). When the box opens In the later versions of you will see three tabs are available, InDesign there is a nifty you will need to choose the HTML / little tool called Adjust ePub one. Once in this tab activate Layout that goes a long way to the Custom Layout section by ticking helping you with this. This can be the box, which will let you specify accessed from either Properties Panel exactly how you want the image or via the Document Setup box on aligned and positioned in the ePub the File menu and will let you change document. You can also adjust the your old page dimensions to the new Space Before and Space After options ones. At the bottom of the Setup box to allocate a precise vertical distance you will see a button called Adjust above and below the image, it is, of Layout. Click on this and make your
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page size changes in this box. It is also a good idea to tick the Adjust Font Size box so that the type adjusts to this new box sizes. This is a seriously good feature which can save you both time and effort, but you will need to carefully check the document afterwards to make sure everything is fine. As far as I am aware this feature is only available in InDesign 2019 but for those using earlier versions this video will provide more guidance with page resizing issues https://writ. rs/indpages
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Recently I took the decision to build my new website in Wordpress, not the blogging platform but the full software, and to date have found it quite intuitive to work with. However it is now at the stage where an additional plugin is needed for the SEO. Plugins are a little past my safety zone but I wondered if you could recommend one that is easy to install and use.
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There are thousands available and easy to access from your content manager in Wordpress but Yoast is both very good and a popular choice. It is easy to install and very intuitive to use afterwards. You just go to the Plug-ins folder, click Add New and a list of plugins including Yoast should appear in the box. If, for some reason you can’t see it just type it into the search box on the top right of the screen. Once it’s installed it will request activation and then be available to use in your pages. There is a quick tutorial available there which will walk you through the above process. This plug-inis free but there is an option for you to upgrade to the paid version which does provide far more control over your SEO. It has been part of the Greta Powell website for a number of years and served very well. FEBRUARY 2019
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N E W AU T H O R P R O F I L E
EMMA MORGAN The debut author tells Adrian Magson how she is proof that industry mentoring schemes work
EMMA’S TOP TIPS
• Buy a notebook to keep your
ideas and jottings in one place and write your name and the title on the front so it feels real. • Your first draft will be rubbish. It doesn’t matter. Worrying will paralyse you with your own self-criticism. • Choose the right person to show your work to – someone who reads what you read. Otherwise it’s like giving your car to a grocer and expecting them to fix it. • Use the ‘find’ tool in Word to avoid over-using a word. Mine is ‘quite’.
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f there’s one thing likely to catch the interest of a reader, agent or editor, it’s an intriguing and memorable title. New author Emma Morgan, from Liverpool, has done that with A Love Story for Bewildered Girls, published in February by Viking. The theme is about three young women trying to make sense of what they want in their lives. ‘Characters come to me first as people I can see and hear in my head,’ explains Emma, ‘and the story develops from there. With Grace I was thinking about what it’s like to grow up with lots of sisters and how that forms your character. Annie came about from meeting two lawyers with Lancashire accents at university. I’d never heard anyone speaking like them before. With Violet I read an article in a magazine where a woman was described as ‘tiny’ as a compliment. It made me wonder what it would be like to be tiny if you didn’t want to be.’ The idea was one she’d been playing around with for a couple of years. ‘I finally put it in a drawer as I couldn’t get it to work. I was fortunate enough to get a place on 74
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the Penguin WriteNow Scheme, and finished it over a year with, first, help from my mentors on the scheme, one of whom became my editor, and later with input from my agent.’ Prior to this, Emma had only written a short chapter for another project, which was published in a book of similar works. ‘I used to write poetry for fun,’ she adds, ‘then wanted to see if I could write something that was longer than a page or two. It took me a long time and trial and error to learn how to do that. Writing became a sort of solace to me, especially when I didn’t feel good. I always hoped to write something that would be published but I didn’t know if that would ever happen. I kept writing anyway because, by that point, I couldn’t stop.’ ‘Like many others I’ve grown to be a writer out of being a reader. One of my earliest memories is www.writers-online.co.uk
dragging around a Richard Scarry picture book that was about as big as me. I’ve still got that book and I’ve been addicted to reading ever since.’ ‘Unlike many writers I didn’t get to publication via an agent. Penguin circumvented that by setting up WriteNow. The typical view of a writer is someone working on their own in a lonely room but my experience was a lot more collaborative. I had no idea how much an editor can be involved in the writing process and, further down the line the copy editor too. There have been so many highs during the writing of this book but the biggest one for me was the day the book was acquired. I cried, my family cried… it felt like my perseverance had been rewarded.’ Emma is currently working on the first draft of her next book, which she says is too soon to talk about and anything could happen.
Away from your desk Get out of your garret for some upcoming activities and places to visit
Back soon! Fiction Prize Festival January 19 sees the first one-day Lucy Cavendish Fiction Prize Festival of talks, workshops and appearances from industry professionals and authors including Sophie Hannah, all aimed at encouraging emerging writers. Website: https://writ.rs/ fictionprizefestival
Writing and rewriting fairytales A one-day workshop on 10 February at CityLit with romance author Helen Cox. Website: https://writ.rs/writingfairytales
Portsmouth BookFest
Hidden Sussex creative writing workshop
A wide range of events across the city for book lovers, including writing workshops and author appearances, between 18 Feb and 10 March. Website: www.portsmouthbookfest.co.uk
Join Farah Edwards Khan for a workshop devised by Writing our Legacy on 10 February to get tips on writing a Sussex-inspired story. Website: https://writ.rs/hiddensussex
Comedy writing for stage and screen Explore sitcom, film, comedy drama and stage plays in an interactive taster writing workshop from New Writing South led by Diane Messias at The Writers’ Place in Brighton on 2 February. Website: https://writ.rs/comedywriting
Booking ahead
Channel 4 Writing for dshow Television and Radioo Roa formats? Get to New
Interested in writing for screen or audi Burgess Foundation in Writing North’s event at the Anthony Manchester on 19 January. Website: https://writ.rs/c4roadshow
e hold – The ieFiv Hallie Ruben about talks Hall er WM cover star
Social historian and form uncovers the hidden her groundbreaking new book, which the Ripper, in Jack stories of the five women killed by Lincoln on 4 March. Website: https://writ.rs/thefive
WRITERS’ NEWS
Your essential monthly round-up of competitions, paying markets, opportunities to get into print and publishing industry news.
Investing in interns Tina Jackson
Crime can pay with the CWA
Leading fashion and beauty magazine Cosmopolitan has launched its inaugural scholarships for emerging fashion and beauty journos and is inviting applications. Four winners will have the enviable opportunity to work at the magazine’s London HQ for a month, with a wage, and accommodation provided. Cosmopolitan’s scholarship is to find four outstanding individuals with the potential to be creative stars in fashion and beauty journalism. It will offer four people the chance to gain experience with the features, art and beauty teams on the leading fashion and beauty title. The winners will be brought to London in July 2019, paid the London living wage (currently £10.55 per hour) and provided with accommodation and a travel pass. The scholarship is being run in partnership with flatshare site SpareRoom. • To apply for a scholarship with the features team, send a CV, a covering letter, five suitable feature ideas with a headline, introduction and synopsis (no more than 200 words each) and a memoir piece up to 500 words on a subject that’s deeply personal to you. • To apply for an art team scholarship, send a CV, a covering letter, three examples of your graphic design, an appraisal of the design of Cosmopolitan up to 500 words and an example of how you would redesign one of Cosmopolitan’s features. • To apply for a scholarship with the beauty team, send a CV, a covering letter, three beauty feature ideas with a headline, introduction and synopsis (no more than 200 words each) and a memoir piece up to 500 words on the topic of beauty. Send applications by email. Specify which category you’re applying for in the subject line. One application per person will be accepted. The closing date is 8 February. Details: email: Cosmopolitan-UK@hearst.co.uk; website: https://writ.rs/cosmo
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www.writers-online.co.uk
Start the writing year in criminal style, as the CWA is inviting entries for two writing competitions. • The CWA Debut Dagger is given for the opening of a crime novel by a writer who has never published a full-length novel and who has not got a contract with a publisher or agent. The winner receives £500. Shortlisted writers receive feedback and their entries are sent to interested UK agents and publishers. To enter, send up to 3,000 words and a synopsis no longer than 1,500 words. Send entries in a single doc, docx, rtf, txt or pdf file, preferably double-spaced, numbered and typed in 12pt font. Your name must not appear on the manuscript. The entry fee is £36 and the closing date is 28 February. • The CWA Margery Allingham Short Story Competition 2019 is for the best unpublished short story that most closely fits vintage crime writer Margery Allingham’s definition: ‘The Mystery remains box-shaped, at once a prison and a refuge. Its four walls are, roughly, a Crime, a Mystery, an Enquiry and a Conclusion with an Element of Satisfaction in it.’ The prize is £500 plus two passes to Crimefest 2020. The competition is open to all writers, published or unpublished. To enter, send original, unpublished short stories up to 3,500 words. Your must not appear on the manuscript. Enter through the online submission system, paying the entry fee of £12 by PayPal. The closing date is 28 February. Website: https://thecwa.co.uk/
WRITERS’ NEWS
Brand new poetry prize The Brotherton Poetry Prize is a new poetry award from the University of Leeds Poetry Centre. The competition has a first prize of £1,000 and the opportunity to develop your creative practice with the University of Leeds Poetry Centre. Four runners-up will each win £200. The winners and shortlisted poems will be published in an anthology by Carcanet Press. The shortlisted poets will also receive £150 to cover their travel expenses to the competition announcement. The judges are Simon Armitage, Malika Booker, Melvyn Bragg, Stella Butler, Vahni Capildeo and John Whale. The international competition is for poets who have not yet published a full collection. To enter, send no more than 200 lines of poetry in up to five individual poems. All poems must be original, unpublished and have a title. Submit the poems in a single doc or pdf file. Your name must not appear on the manuscript. Enter through the online submission system. The entry fee is £10 per five poems. The closing date is 4 March. Details: email: Brothertonpoetryprize@ leeds.ac.uk; website: https://library.leeds.ac.uk/ brotherton-prize
A long lead for Bristol The Bristol Short Story Prize 2019 is open for entries. The annual competition is for short stories up to 4,000 words. There is a first prize of £1,000, a second prize of £500 and a third prize of £250. Seventeen shortlisted stories will each win £100, and all 20 winning stories will be published in The Bristol Short Story Prize Anthology. There is also The Sansom Award, an additional £100 for the best story by a Bristol writer. Entries may be in any style, including graphic and verse, and on any subject, and must be original and unpublished. There are no specific formatting requirements but your name must not appear on the manuscript. Enter online or by post, including an entry form, which may be downloaded from the website. There is an entry fee of £9 per story, payable by PayPal or cheques made out to Bristol Short Story Prize Ltd. The closing date is 1 May. Details: Bristol Short Story Prize, Unit 5.16, Paintworks, Bath Road, Bristol BS4 3EH; email: enquiries@bristolprize.co.uk; website: www. bristolprize.co.uk
UK MAGAZINE MARKET
A courtly circular Tina Jackson
Majesty magazine has been going since May 1980, principally covering the British royal family but also other royal families throughout the world. ‘It covers the modernday royal family and the historical side – a bit of old, a bit of new, bit of UK, bit of foreign,’ said managing editor Joe Little. Majesty’s biggest readership is in North America. ‘We have the late Princess of Wales to thank for that,’ said Joe. ‘The strange thing about Majesty magazine is that when it was new, Diana Spencer was just coming onto the scene, and she became more and more prominent, so doubtless if it wasn’t for Diana, Majesty wouldn’t be what it is today. The readership is mainly women with a long-term interest in the Royals. ‘But we’re always keen to change the demographic, and we’ve got a digital version,’ said Joe. ‘Catherine Middleton and Meghan Markle are attracting new readers – the British royal family have been on a bit of a high since Kate and William announced their engagement – it’s been one good news story after another. It’s appealing to a new readership. Kate and William and Harry and Meghan have a relevance to younger readers. And of course everyone loves royal babies.’ Features are: ‘Many and varied. There are topical stories like the tours, Christmas at Sandringham, weddings, babies. But we also have a lot in the magazine based on anniversaries, births, deaths, marriages, or a look at an aspect of someone else’s life. We don’t usually go back further than the reign of George III – occasionally Henry VIII. But we like to have a bit of everything.’ Majesty is picture-led. ‘I commission on the basis that a feature will illustrate well,’ said Joe. ‘We’re looking for something that will appeal, that will illustrate well.’ The magazine’s overall tone is well-mannered. ‘We don’t do gossip in Majesty, but we don’t shy away from the facts. If something has gone on we’ll report about it. In the media at the moment there’s a lot of coverage about an alleged rift between Catherine and Meghan but we’re not chit-chatty, not gossipy. The tone we maintain is respectful without being overly deferential.’ A lot of Majesty is written in house and by a small team of contributors, and Joe is happy to be approached by potential freelances. ‘You need to know your subject well – the quality of stuff submitted on a random basis varies considerably so we’re interested in previous publishing experience. Because we’ve been going nearly forty years a lot of what we do is regurgitated but we try to do so in a fresh manner. We’re looking for people to know what they’re talking about, and are aware of what we’ve been covering recently.’ The magazine looks slightly different now. ‘Because we’ve had to close the merchandise department,’ said Joe. ‘But that’s given us the opportunity to provide about 20% more editorial coverage.’ Joe’s priority is to produce a magazine that people will want to pick off the news-stand and will sell well. ‘Covers this year have been predominantly Harry and Meghan, the Duke and Duchess of Cambridge. The Queen’s been on the cover and we can do no wrong with the Queen on the cover – the title is Majesty after all!’ Working for Majesty has given Joe an insider perspective on his regal subject matter. ‘I had a soft spot for the Queen Mother – she was a real star, very aware of what would make a good picture,’ he said. ‘She had a bit of the actress to her, which isn’t necessarily a bad thing. Of the present royal family, I’d have to say my favourite is the Queen. When you meet her there is a huge aura about her – she is a presence. For regal quality, the Queen has to take star billing.’ Send ideas by email. Payment is £250 per 1,000 words. Details: email: joelittle@majestymagazine.com; website: http://majestymagazine.com/
www.writers-online.co.uk
FEBRUARY 2019
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WRITERS’ NEWS
FLASHES Waterways World, the UK’s bestselling canal and rivers magazine, is edited by Bobby Cowling. He accepts feature articles and pays £70 per page. The are detailed notes for contributors on the website. Details: email: robert.cowling@ wwonline.co.uk; website: www. waterwaysworld. com The Voice newspaper is the only British national black weekly newspaper. The news editor is Vic Motune. Details: email: newsdesk@the voicemediagroup. co.uk; website: www.voice-online. co.uk Trucking monthly magazine for road truck owners and enthusiasts is edited by Andy Stewart. Details: email: trucking.ed@kelsey. co.uk; website: https://truckingmag. co.uk Dorset Life monthly county magazine is edited by Joël Lacey. Details: email: editor@dorsetlife. co.uk; website: www.dorsetlife. co.uk New Scientist weekly magazine invites answers to questions about everyday scientific phenomena for Last Word. The writers of published answers, which should be concise, will receive £25. Details: email: lastword@ newscientist.com; website: www. newscientist.com ‘If you write well for children, they will learn those words.’ Stan Lee on The Late Show in 1992, BBC Archive
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FEBRUARY 2019
GLOBAL LITERARY MARKET december uprising PDR Lindsay-Salmon
december magazine was established in the 1950s by a group of poets, writers, and artists who were ‘far more concerned with people than dogmatic critical or aesthetic attitudes’. A pioneer in the small press movement, december published ‘cuttingedge fiction, poetry, nonfiction, and art’, which continues today. Open to submissions until 1 May, the team seek submissions of ‘poetry, fiction, and creative nonfiction (essays, memoirs, biography, literary journalism, social or cultural commentary or analysis) and visual art that can be reproduced in our print format.’ Poetry submissions should be in one manuscript of up to five poems. Prose submissions should be one story or essay, or a group of up to three pieces of flash, under 1,000 words each. No reprints, multiple or simultaneous submissions. Response time is ‘within six weeks’. Payment is $10 per page, minimum $40, maximum $200, plus two copies. Submit through the website: https://decembermag.org
THE HANDMAID’S TALE GOES ON Margaret Atwood is writing a sequel to The Handmaid’s Tale. The book will be set ‘fifteen years after Offred’s final scene and is narrated by three female characters’, Atwood announced on Twitter. The Testaments will be published on 10 September 2019. She commented ‘Dear Readers: Everything you’ve ever asked me about Gilead and its inner workings is the inspiration for this book. Well, almost everything! The other inspiration is the world we’ve been living in.’
The play’s the win
Break the mould The Puchi Award is an international competition from La Casa Encendida and Fulgencio Pimentel, now in its third year, for a highly original unpublished book. The prize is a €8,000 advance against publication by Spanish publisher Fulgencio Pimentel. Enter literary or graphic books that break the mould. Books may be fiction, non-fiction, essays, informative, poetry, illustration, cookery, or any other type of work, including projects that conventional publishing might regard as unclassifiable. The object of the competition is to find a work that stands out by virtue of its originality. Writers from Spain or anywhere else in the world may submit one manuscript, which may be complete or a work-in-progress. Submissions should consist of the finished work or, in the case of a work-in-progress, and excerpt; a completed entry form; an author’s CV; a summary of the work and statement of motivation up to 2,000 words; a statement of production requirements up to 1,000 words and ID (ie, passport). All submissions must be in English. Entry is free. The closing date is 31 January. Website: https://writ.rs/puchiaward www.writers-online.co.uk
The International Windsor Fringe Kenneth Branagh Award for New Drama Writing is inviting entries for the 2019 contest. The competition is for one-act plays by amateur playwrights. Three scripts will be selected for performance during the Windsor Fringe Festival and one of the three finalists will win the £500 prize, judged on the basis of the writing only. All scripts must be original, unperformed and no longer than thirty minutes in length. Casts should be no more than six actors and all submitted scripts need to be suitable for staging in a studio theatre. To enter, send a digital copy by email, plus two hard copies, printed on numbered single sides of A4 with no staples or binding. Your name must not appear on the manuscript. The cover page should include your name and full contact details and the title of the play. There is a £10 entry fee, payable by cheques made out to Windsor Fringe Festival, or by PayPal. The closing date is 5 March. Details: Windsor Fringe Festival Kenneth Branagh Drama Writing Award, Suite 640, 24-28 St Leonard’s Road, Windsor, Berkshire SL4 3BB; email: dramaproductionteam@gmail.com; website: www.windsorfringe.co.uk
WRITERS’ NEWS
GLOBAL SPECFIC MARKET New home now here for Tor editor Gary Dalkin
Erewhon Books is a new US publisher founded by Hugo Award-winning editor Liz Gorinsky, previously of Tor, where she edited such authors as Catherynne M Valente and Jeff VanderMeer. The new company is looking for speculative fiction novels, including science fiction, fantasy, horror, and other subgenres, but is open to other works of interest to SF&F readers. Submissions should be at least 40,000 words and suitable for the adult or YA market with crossover potential. Aside from novels, Ewewhon will also consider graphic novels, drama and non-fiction relating to speculative fiction. Authors submitting their own work should only send completed projects – no unfinished works or pitches. Agents may inquire before sending pitches when a full manuscript is not available. Liz notes that they prefer books on the literary end of the spectrum but with clear commercial appeal, especially works that fall between genres. Veins of weirdness or dark humour are appreciated. The company is especially interested in publishing authors from underrepresented backgrounds and/or books with underrepresented characters or settings. All submissions must be sent by email to submissions@erewhonbooks.com. The subject line should begin SUBMISSION and include your name and the title of your book. Attach your complete manuscript as, in order of preference, a doc, rtf or docx file. Include a one-page synopsis in your cover letter and a brief list of any notable publications. No multiple submissions. Simultaneous submissions are okay, but notify right away if you get an offer elsewhere. General enquiries can be made via the form on the website, which also publishes the full guidelines: www. erewhonbooks.com
Netflix and children The Roald Dahl Story Company have entered into a longterm deal with Netflix, which has recently established its own animation studio, to produce ‘animated event series’ and one-off TV specials based on the celebrated author’s work. The first two productions will be new adaptations of Charlie and the Chocolate Factory and Matilda. Felicity Dahl, the late author’s widow, commented ‘Our mission, which is purposefully lofty, is for as many children as possible around the world to experience the unique magic and positive message of Roald Dahl’s stories. This partnership with Netflix marks a significant move toward making that possible and is an incredibly exciting new chapter for the Roald Dahl Story Company. Roald would, I know, be thrilled.’ Meanwhile, vice president of kids and family content at Netflix, Melissa Cobb promised that the new productions would ‘remain faithful to the quintessential spirit and tone’ of Roald Dahl’s stories, adding, ‘We have great creative ambition to reimagine the journeys of so many treasured Dahl characters in fresh, contemporary ways with the highest quality animation and production values.’
Actual news Dictionary.com has chosen ‘misinformation’ as its ‘word of the year’. Jane Solomon, linguist in residence said, ‘Misinformation has been around for a long time, but over the last decade or so the rise of social media has really, really changed how information is shared. We believe that understanding the concept of misinformation is vital to identifying misinformation as we encounter it in the wild, and that could ultimately help curb its impact.’ www.writers-online.co.uk
It’s a Funny Old World by Derek Hudson
Mark Twain came to believe that fame could be fatal, according to this observation: ‘I was sorry to hear my name mentioned as one of the great authors, because they have a sad habit of dying off. Chaucer is dead, so is Milton, so is Shakespeare, and I am not feeling very well myself.’ When George Bernard Shaw was still a young critic he was invited as a guest to a family party. When he came into the room, the daughter of the host was playing the piano. ‘I have heard,’ she said very sweetly, turning round to the visitor, ‘that you are fond of music.’ ‘I am,’ answered Shaw, ‘but never mind! Go on playing!’ How many mystery writers does it take to change a light bulb? Two. One to screw the bulb almost all the way in, and one to give a surprising twist at the end. ‘When I was 17, my dearest wish was to be a writer. Now I am a writer my dearest wish is to be 17.’ Denis Norden, quoted in The Times True, or not, these alleged examination answers by sixteenyear-olds show imagination, if not accuracy: • Name six Arctic animals. Three polar bears, three seals • What is a seizure? A Roman ruler • Explain what hard water is? Ice. • What is a fibula? A small lie. • Name four seasons. Pepper, salt, vinegar and mustard. • What does varicose mean? Nearby. And three geography howlers: • Name one famous Greek landmark. The most famous Greek landmark is the Apocalypse. • What artificial waterway runs between the Mediterranean and Red Seas? The Sewage Canal. • People known as Malays come from which country? Malaria. JANUARY 2019
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WRITERS’ NEWS
GLOBAL SCIFI MARKET SciFiMonkey needs stories
FLASHES The Greenwood Tree, which appears three times each year, is the magazine of the Somerset & Dorset Family History Society. Send letters to the editor and contact editor Paul Radford about articles in the first instance. Details: SDFHS, Broadway House, Peter Street, Yeovil, Somerset BA20 1PN; website: https:// sdfhs.wordpress.com Anna Berrill is the new editor of Healthy magazine, which is sold in Holland & Barrett shops. The star letter writer in each issue gets £50 in Holland & Barrett vouchers. Details: email: healthy@ therivergroup.co.uk; website: www. healthy-magazine. co.uk Comic book creator Stan Lee, who has died aged 95, was famed for superheroes including Superman, the Hulk, Iron Man, Daredevil and Thor. He founded Marvel comics with Jack Kirby in 1961 and wrote under pseudonyms to make it appear that Marvel had more writers. Glen Cheyne is the editor and creative director of local monthly Bridport Times. Details: email: glen@ homegrown-media. co.uk; website: www. bridporttimes.co.uk Louise Chunn edits quarterly wellbeing title Planet Mindfulness. Twitter: @ PlanetMindful A short story is a different thing all together – a short story is like a kiss in the dark from a stranger.’ Stephen King
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FEBRUARY 2019
PDR Lindsay-Salmon
SciFiMonkey.com is a science fiction-plus, fan-created website. The team’s goal is ‘to bring news, reviews, previews, original content and more to fans like us’. As well as seeking stories for the website the team put together anthologies. Currently they are looking for stories for Season Three – Aliens of the Wild West: aliens ‘have come billions of light-years and have arrived in the era of the Old West. Tell us what happens when they land.’ Submit stories, 1,000-20,000 words (preferably 2,000-7,000), set ‘during the era of the Old West that was made famous for cowboys, native Indians [sic], the lawmen, gunslingers, the pioneers, the prospectors, the gamblers, the scouts, the outlaws, the gangs and the gunfighters.’
Writers are asked to think beyond the usual clichés, be a little crazy and note that there are some great opportunities for humour. Multiple and simultaneous submissions are accepted but not reprints Format to a standard publishing format and save work as a doc file. Deadline is 6 March. Response time is ‘four weeks’. Payment is a share of 40% of the profits, for first serial rights. Website: http://scifimonkeys.com
Fantastic fest The Cymera Festival, to be held at the Pleasance, Edinburgh, 7-9 June 2019, is Scotland’s first literary festival dedicated to science fiction, fantasy and horror. Featured authors will include Cassandra Khaw, Ken MacLeod, Samantha Shannon, Claire McFall and Charles Stross. Ann Landmann, the festival’s founder, said, ‘By modelling it on existing book festivals, we aim to put genre writing on an equal footing with literary fiction. We want to connect readers with some of their favourite authors, and introduce them to the writing stars of the future.’ Cymera is being run in partnership with the Creative Writing MA programme at Edinburgh Napier University and the MLitt Department at Glasgow University. As well as workshops, panel discussions and lectures one of the goals of the festival is to ‘discover, nurture and showcase local writers’ and there will be a full programme of social events including a ceilidh. There will also be a short story competition, launching in January, for Scotland-based writers aged fourteen and over. Website: www.cymerafestival.co.uk
Keep it brief Vestal Review is a biennial print and online magazine devoted to flash and short-short stories. It needs flash ‘so condensed that it borderlines poetry’ and that lingers in a reader’s mind. No SF or children’s flash but most genres are welcome. Subs reopen in February until the end of May. Submit flash fiction only, defined in this case as no longer than 500 words, for adult readers, and humour is appreciated. No reprints or multiple subs but simultaneous submissions are allowed with the usual proviso. Submit through the website. Payment is $25 via PayPal, plus one copy, for first North American serial rights and first electronic rights. Website: www.vestalreview.org www.writers-online.co.uk
A rocky start Three Rock Writers’ Resort is inviting applications for its 2018 residencies for the spring/summer resort residency programme The residencies, offered by Three Rock in collaboration with Strange Days Books, are one- or two-week stays in Greece, on the island of Crete. Writers stay in a single or shared room, or in a private studio in April, May, June, October and November. Space is available for a partner or friend at no extra cost. A full stipend will be offered to one project and 50% discounts offered to twenty other projects. In addition, Strange Days Books will publish one book each year by a writer who has completed a Three Rock resort residency. Writers in all creative writing genres are invited to apply. Send a single file containing a 200-word writer’s biography and up to three chapters (for novels), three stories (for a short story collection) or twelve poems, plus a completed application form which should be copied and pasted into the body of the submission email. There is an application fee of €10, payable by PayPal. The closing date is 20 January. Details: email: eyelandsmag@gmail.com/ strangedaysbooks@gmail.com; website: https:// writ.rs/threerock
G OW I NRG ITE TO R SM ’N AERW KS ET
UK CHILDREN’S MARKET he proof of the pudding Tina Jackson
Go public Plan on meeting your public in 2019, urges Patrick Forsyth Named after a famous Scottish pudding, Cranachan Publishing specialises in high quality children’s fiction, focussed on the 9-12 age range. ‘Our core titles are mainly historical fiction set in Scotland, as we work closely with schools,’ said publisher Anne Glennie. ‘However, we are now expanding our range to include general children’s fiction, nonfiction, and we’re very excited to be launching a new YA imprint, Gob Stopper, in 2019.’ Cranachan was set up almost three years ago, with its first title launching six months later. ‘As aspiring writers ourselves, we wanted to be a publishing house, with a strong Scottish identity, that would be open to new writing, to encourage new voices and talent,’ said Anne. In 2016 Cranachan published four titles, and five in 2017 and in 2018. ‘But we have ten titles coming out in 2019 – it’s going to be a very busy and exciting year! As we are doubling our title output over the next year, this is a time of huge growth for Cranachan. We’re not sure what the future holds for us but we’re certain it’s going to be a brilliant journey, filled with talented authors and good books!’ Cranachan is open to submissions for its Pokey Hat (9-12yrs) and Gob Stopper (YA) imprints. ‘Any high quality, compelling fiction on any subject would be welcome. Extra points awarded for Scottish settings or links to pique our interest! We also love an educational angle too.’ Story is the first thing Anne looks for in any prospective Cranachan submssion. ‘We want to lose ourselves in your book – so we need plenty of reasons to keep turning those pages. High quality writing is essential too; we’re lucky to have truly fabulous writers as part of Clan Cranachan – so your work has to be a good fit for that to maintain the Cranachan brand. When we receive submissions, we approach them as readers (not publishers) in the first instance – we rely on a personal reaction and connection to the story.’ Anne is happy to take on new writers, and appreciates it when their submissions have been tailored to what Cranachan is looking for. ‘Always read the submission guidelines. A personal and well-researched cover letter/email goes a very long way – it’s absolutely worth the time to tailor your approach to the publisher you’re submitting to. Keep writing, keep improving, keep persevering – we have published many debut authors who just hadn’t found the right publisher yet.’ To submit, send a synopis and the first 5,000 words of a completed, clean manuscript. Include a cover letter and social media links with your submission. Cranachan publishes in paperback and ebook formats. Writers are paid royalties. Details: email submissions@cranachanpublishing.co.uk; website: www.cranachanpublishing.co.uk
One-day fiction feast Lucy Cavendish College, one of the colleges of Cambridge University, is launching a one day Fiction Prize Festival. Aimed at aspiring writers, the inaugural event is on 19 January. The day is built around a programme of workshops, one-on-one sessions with established authors, lectures, opportunities for networking, book signings and an evening dinner. Featured guests include Sara Collins, Kelleigh Greenberg-Jephcott, Sophie Hannah, Laura Marshall and Lesley Sanderson. For tickets and details, see the website: https://writ.rs/lucycav www.writers-online.co.uk
As I write this I am busy arranging the 2019 events for a writing group to which I belong. This is a body with some sixty members, meaning we can have speakers at the monthly meetings. Budgets are tight, but we can pay them if necessary and certainly cover travel costs, which means we aim to find people who reside not too far afield. It’s not an easy task and some of the writers we approach say they simply do not do such things. That is of course their right, but I must confess I reckon a) that some say no simply because they are uncomfortable with public speaking and b) that they are missing a trick. Such events are a not only a promotional opportunity but also an opportunity to meet others (perhaps leading to an exchange of ideas or collaboration). Leaving aside a distaste for the task of speaking – and it is my belief that anyone can learn to do this (though there are things to learn and it can be a trap for the ill-informed) – I have always found undertaking such things worthwhile and indeed fun to do. Speaking about writing (often done in a how-to manner), your own writing process and working in a little bit of a plug for your titles if appropriate can make for a pleasing session. More so if you can include a humorous element, perhaps. Some organisations, for instance the Women’s’ Institute, for which you must audition (and I love telling people I am ‘WI-approved’!), offer repeat opportunities through their many branches. And they may offer a fee as well as the opportunity to promote your wares. If you do not do this kind of thing, maybe it is time to consider adding it to your repertoire.
SEPTEMBER 2018
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WRITERS’ NEWS
FLASHES The Business is a bimonthly independent magazine covering business and commerce in Dorset, West Hampstead and Salisbury. The editor is Gill Bevis. Contributions are accepted. Details: email: news@bizmag. co.uk; website: www.bizmag.co.uk Steve Huntingford is the editor of What Car? monthly car buyers’ guide, which is published by Haymarket Media. Details: email: steve.huntingford@ haymarket.com; website: www. whatcar.com The Vegetarian is the members’ magazine of the Vegetarian Society. Details: email: editor@vegsoc. org; website: www. vegsoc.org Screenwriter and author William Goldman, whose films include Butch Cassidy and the Sundance Kid, All the President’s Men and The Stepford Wives, has died aged 87. Jo Checkley is the executive editor of Prima magazine. Details: email: prima@hearst. co.uk; website: www.prima.co.uk Dorset Link is the newsletter of the Dorset Blind Association. The chief executive officer is Jonathan Holyhead. Details: email: info@dorsetblind. org.uk; website: http://dorsetblind. org.uk/ ‘Write what should not be forgotten. Isabel Allende
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UK LITERARY MARKET See your name in lights PDR Lindsay-Salmon
Neon is a UK literary magazine published in print and online. The editorial team is proud of the ‘imaginative, stylised poetry and prose’ they publish. Editor Krishan Coupland likes to focus on ‘the new, the experimental and the strange’. Each edition published features ‘a blend of surreal and speculative fiction, poetry, art and photography’. Krishan wants the magazine ‘to sit on the edge of horror and sciencefiction, but with strong literary leanings’. Readers with ‘a taste for the magical realist or uncanny’ will find plenty here to read. Often there are themes to write to. Recent themes have been: isolation, post-modernism, technology, dislocation, apathy, the apocalypse, memory, Kirk Cameron and urban decay’.
Neon is currently open to general submissions, and always open for ‘expedited’ subs, ie with a submission fee, for ‘work that is beautiful, shocking, intense and memorable’. Darker pieces are preferred over humorous ones, and rhyming poetry is discouraged. ‘Genre work is welcome, experimentation is encouraged. We like our poetry stark and our prose weird, but not nonsensical.’ The guidelines are quite flexible, no set word limit, or deadlines. Submissions of short pieces – poems and flash fiction – should be sent in multiples, not just one. Remember the editor’s preference for ‘darker pieces, especially those with an element of the surreal or speculative,’ but note that the team will read ‘anything and like to be surprised.
Crime conquers romance in a long look at library data Well Read has collated three decades of library data from PLR, giving an overall picture of UK’s book-borrowing and reading habits. Romance dominated the adult fiction charts in the first half of the survey, falling sharply from 2000, when crime, thriller and mystery fiction entered a new phase of popularity. Nine of the top ten most popular adult fiction library titles borrowed between 1991 and 1993 were by Catherine Cookson; the other was by Barbara Taylor Bradford. This pattern continued until 1997, when Dick Francis’s Come to Grief entered the top ten, but between 1998 and 1999 the whole top ten was occupied by Catherine Cookson novels. By 2000, four non-Cookson titles had top ten placings, and by 2001, saga writer Josephine Cox was getting significant showings, with four placings. Between 2004 and 2005, though, seven out of the top ten titles were crime and thriller novels. By 2007 James Patterson was putting in significant top ten appearances, and by 2008/9 eight out of the top ten titles were crime, and in 2009/10 crime accounted for the entire top ten. James Patterson, Lee Child, Michael Connolly, Ian Rankin, Dan Brown and Karin Slaughter account for the bulk of crime borrowings. James Patterson has been the most-borrowed author for the last eleven years. Crime has continued to dominate the adult fiction top ten, with notable non-crime titles coming from Kathryn Stockert (The Help), EL James (Five Shades of Grey), JK Rowling (The Casual Vacancy). Romance put in an reappearance in 2015 with Milly Johnson’s Afternoon Tea at the Sunset Café and in 2016/17 with JoJo Moyes’ After You. Seven of the most borrowed authors from 2016/17 were children’s writers, but the single most borrowed title in that year was Paula Hawkins’ Girl on a Train.
www.writers-online.co.uk
Images, comics and graphic poems are also welcome, as are selfcontained extracts.’ Reprints and simultaneous submissions are welcome but say so in your submission. Response time is ‘one month’. Payment is a small royalty for one-time nonexclusive rights. Submit by email, subs@ neonmagazine.co.uk, after reading the guidelines on the website: http://neonmagazine.co.uk
Lip filler Published online each month and as a print annual, Split Lip is ‘a voice-driven literary journal with a pop culture twist’. It features ‘art, music and film, in addition to the fiction, poetry, and memoir traditionally found in literary magazines.’ Submissions are free during February, then every second month thereafter; otherwise there is a $2 ‘reading fee’. Short fiction editor Katie Flynn needs unpublished literary, mainstream or experimental writing, no genre fiction, of 1,000-2,500 words. Submit flash, up to 1,000 words, to flash editor Maureen Langloss. Memoir editor Ray Shea wants ‘an unpublished dirty lowdown’ on the human condition, under 2,000 words. Poetry editor Marianne Chan will consider single poems. Submit a doc, docx or pdf through the website: www.splitlipmagazine.com Response time is ‘up to twelve weeks’. Payment is $50 per author via PayPal for online work. For print, payment is $20 per page, min $20, plus two copies and a one-year subscription.
WRITERS’ NEWS
GLOBAL CRIME MARKET Unpublished authors hunted by Minotaur Gary Dalkin
Publication and a $10,000 advance are on offer for the annual First Crime Novel Competition from St Martin’s Minotaur Books and Mystery Writers of America. The contest is open to writers of all nationalities over the age of eighteen. Submissions must be a novel-length story involving murder or other serious crimes, and be no less than 220 typewritten pages, or approximately 60,000 words. Submissions must be in English and you must be the sole author. Entrants must not previously have had a novel professionally published, though you may have self-published novel-length fiction. The novel you are submitting must not have been self-published in any form, though an excerpt online not exceeding 10% is permissible. The deadline is 11.59pm EST on 11 January. The winner will be notified no later than 29 March. The prize is a standard contract with Minotaur Books to publish the winning novel, with, upon signing, the author receiving a $10,000 advance against future royalties. The winner will then be recognised at the Edgar Awards Banquet in New York City in April 2019. Manuscripts must be double spaced and submitted as doc or pdf files. Follow the full guidelines and submit through the website: https://us.macmillan.com/ minotaurbooks/submit-manuscript Send enquiries to MB-MWAFirstCrimeNovelCompetition@StMartins.com
£15k story prize up for grabs The BBC National Short Story Award 2019 with Cambridge University is open for entries. The prestigious award has a first prize of £15,000 for a single short story. Four shortlisted authors will each win £600, and all the winning stories are broadcast on Radio 4 and published in an anthology. The judges for the 2019 BBC National Short Story Award and the BBC Young Writers Award are Niki Bedi, Katie Thistleton, Daisy Johnson, Testament, Patrice Lawrence, Kiran Last year’s winner Ingrid Persaud Milwood-Hargrave and Cynan Jones. Enter stories up to 8,000 words aimed at adult readers. To enter, writers must have a previous record of publication in creative writing (prose fiction, drama or poetry) with an established book publisher, newspaper, magazine, journal or periodical in the UK, or broadcast by a UK national broadcaster or content provider. Self-published work is not eligible. Stories entered for the BBC NSSA must be original and unpublished, or first published or scheduled for publication after 1 January 2018. Enter online or by post. Format entries as a doc, docx or pdf file with double spacing and 12pt black font, with the story title as the file name. Do not number the pages. Your name must not appear on the manuscript. Include a front sheet with story title and word count. If entering by post, send eight copies of the story and an entry form. The shortlist will be announced on BBC Radio 4’s Front Row in September before the stories are broadcast. Entry is free. Each author may submit one story. The closing date is 11 March. Details: The BBC National Short Story Award 2019 with Cambridge University, The London Readings Unit, Room 8015 Radio Drama, BBC Broadcasting House, London W1A 1AA; email: bbcnssa@bbc.co.uk; website: https://writ.rs/bbcnssa2019 www.writers-online.co.uk
And another thing... ‘Ideas for things come into one’s head, or bits of ideas; you feel there’s something – there’s some meat on the bone, there’s something there that lures you on. The more you think about it the more you’re led into this new world and the more of that world you see. And part of having an idea is having some notion of how you would tell the story. ‘It’s not just thinking it would be nice to write something about the Crimean war, it’s having some particular way in mind of writing something about the Crimean war, and the idea for the way to tell the story helps you to see what the story is.’ Michael Frayn, The Guardian archives ‘Beware, then, of the long word that’s no better than the short word: “assistance” (help), “numerous” (many), “facilitate” (ease), “Individual” (man or woman), “remainder” (rest), “initial” (first), “implement” (do), “sufficient” (enough), “attempt” (try), “referred to as” (called), and hundreds more. Beware of all the slippery new fad words: paradigm and parameter, prioritize and potentialize. They are all weeds that will smother what you write’. William Zinsser, On Writing Well: The Classic Guide to Writing Nonfiction ‘Being a writer all boils down to this: It’s you, in a chair, staring at a page. And you’re either going to stay in that chair until words are written, or you’re going to give up and walk away. The great writers have to fight for their words. They have to choose to write, choose words over distractions, and their characters over their friends. Great writers can be lonely, exhausted souls. But through our characters, we live.’ US writer Alessandra Torre ‘I love happy endings. The late Louis Malle called me a raunchy moralist, and that’s what I like to be known as. Because it’s a great description. One of the things, my biggest critics are the people who have not read my books, they don’t realise that it is a story, and its the characters that drive the books, not the sex. The sex happens because it happens in life and I’m writing about life.’ Jackie Collins FEBRUARY 2018
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WRITERS’ NEWS
GLOBAL LITERARY MARKET Blooming opportunity
FLASHES Jason Cowley edits the New Statesman. Contributions are very occasionally accepted for the website, edited by Julia Rampen. Details: email: julia.rampen@ newstatesman. co.uk; website: www. newstatesman. com The Oscar Wilde Society produces two print journals each year: The Wildean, which is published twice a year, and the quarterly Intentions. A year’s membership costs £28. Website: http:// oscarwildesociety. co.uk Normal People by Sally Rooney has been named Waterstones’ Book of the Year 2018. Leading Irish poet Thomas Kinsella is the recipient of the Bob Hughes Lifetime Achievement Award for 2018. The ninety-yearold writer finds himself in the company of such previous winners as John Banville and Seamus Heaney. A new London literary festival, Capital Crime will feature Peter James and Lynda La Plante as headline guests. The festival will take place at the Grand Connaught Rooms, 26-28 September. Find out more at www. capitalcrime.org ‘Don’t get it right, get it written.’ Ally Carter
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PDR Lindsay-Salmon
Waterlily Press is a new US small press specialising in publishing anthologies of short fiction and chapbooks of poetry, ‘with a special focus on noir, hardboiled, horror,
A place for poems The international Poetry on the Lake competition is inviting entries for the 2019 competition. In the open category, for poems up to 42 lines, the first prize is €500 and the Silver Wyvern trophy, and the second prize is €200. In the formal poems category for poems written in traditional poetic forms, the first prize is €100, and the is a prize of €100 for the best poem submitted with a ‘spirit’ theme. All entries must be original and unpublished. If entering by post, send two copies of each poem (one anonymous, the other with contact details and the PayPal ID number). If entering online, include contact details and the PayPal number in the body of the email. Send the poems in a single doc or docx attachment, titled YOUR NAME COMP 2019. The entry fees are £10/€15 for the first poem and £6/€10 for any further poems, payable by PayPal or cheques (sterling only) made out to G Griffin-Hall. The closing date is 31 March. Details: Poetry on the Lake, 28106 Isola San Giulio NO, Italy; email: poetryonthelake@ yahoo.co.uk; website: www. poetryonthelake.org
and literary fiction’ over 10,000 words. Poetry chapbooks are welcomed, in any style and almost any subject except erotica. Follow the guidelines on the website and submit fully edited work by email as a doc, docx or pdf file. Waterlily Press also publish two magazines always in need of submission. Pressit is an art and literary magazine. Erebus Magazine is a new print and Kindle magazine publishing ‘short stories, poetry, and essays focused on “darkness”, whether that be a physical absence of light, evil, or some other interpretation of the dark that you may find appealing’. Check
the submission guidelines before submitting. Response time is ‘as soon as possible’. Payments, royalties and rights are discussed on acceptance. Details: Waterlily Press, email queries and subs to: queries@ waterlilypress.xyz; website: https:// waterlilypress.xyz
The Sexton in the archive Four forgotten early poems and an essay by Pulitzer Prize winning author Anne Sexton have been rediscovered. The works were all published between 1958 and 1959 in the Christian Science Monitor, where assistant professor of American Literature at the University of Idaho Zachary Turpin found them in the Sexton archive. Turpin commented, ‘What makes these early poems so special is that one can see how commanding and experimental Sexton was, even during her first or second year as a publishing poet. Yet there is also the sense that here is a real, complex person behind the words, a brilliantly associative crafter of words who is honing her art sharper and sharper, working for it, at the anvil – rather than magically emerging fully formed, some mythological creature without a speck of dirt on her.’ The poems have been republished in the literary journal of the University of Idaho, Fugue, together with an introduction by Sexton’s daughter, Linda Gray Sexton.
Staunch winner The first Staunch Prize, a new award for thrillers ‘in which no woman is beaten, stalked, sexually exploited, raped or murdered’ has been won by Jock Serong for On the Java Ridge. Bridget Lawless, who founded the prize and is funding it herself, said, ‘When rape and murder are used as entertainment so endlessly, and really dominate in popular culture, it’s a bit strange when you stop and think about it. We can’t really tackle violence against women when we’re sucking it up as entertainment.’ Of On the Java Ridge she commented, ‘This is exactly the quality of thriller that Staunch set out to find, and we’re proud to name it as our winner. It’s a good thriller, with all of the usual jeopardy and ups and downs. There is very strong writing, it’s very brutal, and there is violence, but there is nothing gratuitous. And one of the adversaries is nature, which we don’t see enough of.’ www.writers-online.co.uk
WRITERS’ NEWS
INTRODUCTIONS Writing Magazine presents a selection of business publishers currently accepting contributions. We strongly recommend that you read back issues, familiarise yourself with their guidelines before submitting and check websites, where given, for submission details.
Published five times a year, What Franchise magazine is Improve Your the UK’s leading title CASH FLOW MAXIMISING for people interested PRODUCTIVITY in investing in a BUSINESS IN A BOX franchise. Its content PERFECT includes information MATCH about franchises Join the movement for sale, advice, motivational articles on how to make a success of franchising and case studies of people who bought franchises. Editor Jeff James is happy to accept submissions from freelances writers with a background in commerce. Payments very. Details: email: jeff@partridgeltd.co.uk; website: https://www.what-franchise.com/ 0 5
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Moneywise magazine is full of hints and advice for anyone who wants to know how to make money work for you. Contents include savings, investments, pensions, mortgages, insurance, financial planning, household finances, how to make extra money and how to avoid financial scams. It’s a jargon-free read, written to be accessible and informative. Deputy editor Edmund Greaves is happy to accept proposals from informed writers for freelance articles. Payment varies. Details: email: editorial@moneywise. co.uk; website: www.moneywise.co.uk
Independent media company Insider publishes five regional monthly business magazines covering Yorkshire, the North West, Midlands, Wales and the South West of England. Readers are company directors, senior partners and business owners and content focuses on the five core points of a board agenda: finance, property, assets and technology, HR and recruitment, and practical advice on a range of business-related matters. Each region has an editor based on-patch and ideas are welcome from specialist freelancers experienced in writing business features for a discerning audience. In the first instance, contact group editorial director Miri Thomas. Details: email: Miri.Thomas@newsco. com; website: www.insidermedia.com Entrepreneur is a monthly magazine for small business leaders that has worldwide editions, which is part of the global Euromoney online brand. The magazine’s coverage is informative and motivational, with the focus on how entrepreneurs solve problems rather than what a company does or what a particular entrepreneur’s path was. Editor in chief Jason Feifer accepts pitches from experienced business writers for the print magazine for paid articles, and also
welcomes submissions for online content, which are unpaid. Payment varies. Details: email: entmag@entrepreneur. com; website: www.entrepreneur.com Business Matters, edited by Paul Jones, is the UK’s largest subscription-based monthly magazine for small and mediumsized businesses. Regular topics involve finance, legal matters and technology, and content includes commercial news, analysis and interviews with opinion formers and entrepreneurs from the small business sector. Paul has a limited budget for freelance contributions and is happy to receive pitches from experienced business writers. Details: email: pjones@cbmeg.co.uk; website: www.bmmagazine.co.uk Business Traveller differs from most travel magazines in that it concentrates on the interests of people who travel for work rather than holiday purposes. BT has worldwide editions, with the UK magazine edited by Tom Otley, and contents focus on matters of interest to corporate travellers, including destinations, loyalty programmes, hotels, airports, money and other aspects that make their business trips easier, more interesting and more enjoyable. Tom accepts pitches from freelance writers with an insight and experience in corporate travel. Payment varies. Details: email: editorial@ businesstraveller.com; website: www. businesstraveller.com
GLOBAL FICTION MARKET Hit your target PDR Lindsay-Salmon
Silver Bow Publishing is a Canadian indie looking for ‘great literature in all genres’ for publication in print and ebook, as well as poetry. Query first for permission to submit a manuscript. Make sure the pitch is polished and to the point. Keep it brief. Be sure to follow the specific and unusual formatting requirements for the manuscripts. The cover letter should contain a brief overview of the story, and a bio and author CV. For poetry subs submit a doc and pdf file. Again
send a cover letter and bio and save the file as a doc or pdf file. Response time is ‘within three weeks’. Royalties and rights are discussed on acceptance. Details: Silver Bow Publishing, sub to: info@silverbowpublishing. com; website: www.silverbowpublishing.com
www.writers-online.co.uk
FEBRUARY 2019
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WRITERS’ NEWS
UK SPECFIC MARKET
FLASHES Yoga & Health magazine is edited by Jane Sill. She is happy to hear from students and teachers who would like to share their experience of yoga. Details: email: editor@yogaand healthmag.co.uk; website: www. yogaandhealthmag. co.uk The Diagram Prize for the book with the oddest title has been won by a German recipe collection called The Joy of Waterboiling. The book collected 56% of votes cast and is the first foreign language title to win the ‘prestigious’ award. St Petroc’s Society aims to fight street homelessness in Cornwall with a fundraising competition for poems, under forty lines, themed ‘homeless’. The overall winner gets £50, with £25 for category winners: under-12s, under-19s, St Petrocs clients, other adult poets, and visual poems. Entry fee £5, £8 for two, £9 for three. Closing date, 31 January. Website: https://writ. rs/petroc A Publishing Weekend, 2-3 March, aims to give writers information about moving forward to the next step, whether through traditional or self-publishing, as part of the larger Portsmouth Bookfest, 18 Feb-10 March. Website: www. portsmouthbookfest. co.uk ‘I find it satisfying and intellectually stimulating to work with the intensity, brevity, balance and word play of the short story.’ Annie Proulx
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Iron-clad opportunity Gary Dalkin
Third Flatiron Publishing is based in Boulder, Colorado, and Ayr, Scotland and the company publishes a new speculative fiction themed anthology as a trade paperback approximately every quarter. They have published around two dozen anthologies to date. The editorial team will be reading for the anthology Hidden Histories from 1-31 January. Publisher and editor Juliana Rew is looking for secret histories, ‘a revisionist interpretation of either fictional or real history which is claimed to have been deliberately suppressed, forgotten, or ignored by established scholars’. Your tale
can be based in the real world, past, present, or future, as long as it has a speculative fiction element – think of authors such as Arthur C Clarke, Connie Willis or Dan Simmons. Irony, mild horror and humour are welcome, so long as your story fits the theme. Submissions are welcome from everywhere and should be between 1,500 and 3,000 words. Enquire first for longer works. Also accepted are flash humour pieces around 600 words on any speculative fiction theme. Payment is 6¢ per word for six months’ exclusive rights. No simultaneous or multiple submissions. Use Standard Manuscript Format and submit by email to flatsubmit@thirdflatiron. com. Attach your story as a doc or rtf file, or pasted as plain text in the body of your email. In the subject line put flatsubmit:Title_
of_Your_Work. Follow the full guidelines at www.thirdflatiron.com
Shake some drip action Drip Action Theatre Company is inviting entries for the Arundel Festival Theatre Trail 2019. During the Arundel Festival, eight short plays are performed at eight different venues in Arundel – in the past these have included a restaurant, a football club and Arundel Jailhouse. Submit plays between thirty and forty minutes long that are practicable in terms of casting, props and effects. Each accepted play will earn its writer a £150 fee. The best submitted script will receive the £250 Joy Goun Award. Send plays as hard copies by post. Only one entry will be accepted per writer. Entry is free. The closing date is 31 January. Details: Drip Action Theatre Trail 2019, c/o Arundel Festival, Town Hall, Maltravers Street, Arundel, West Sussex BN18 9AP; email: info@dripaction.co.uk; website: www. dripaction.com/writers-competition
Lead for Leeds Leeds Playhouse has a script-reading window for plays by writers with a Yorkshire connection. Many of the writers currently developing work with the Leeds Playhouse first submitted through a script window. Writers who are living in Leeds or Yorkshire or who feel particularly connected to the Playhouse and its programme are invited to send scripts for theatre plays that explore how life is lived in Leeds, Yorkshire and the wider world. Send original, unproduced scripts via the online form as doc or pdf files. Don’t send scripts for radio, TV or film, or musicals, operas or operetta. Scripts may be of any length and aimed at audiences of any age. One script per writer will be accepted in a calendar year. The script window is open until 31 January. Website: https://writ.rs/lpscript www.writers-online.co.uk
No Alibi? Send stories Belfast-based indie No Alibis Press has a call out for short story submissions for a new anthology. At this stage stories are welcomed in any style and genre, and at any length, although writers may be asked to rework their stories to makes them longer or shorter so that they work within the context of the anthology. No Alibis Press comes from No Alibis independent book shop that specialises in mystery and detective fiction and has hosted many big names at literary gigs and concerts and was instrumental in setting up Noireland International Crime Fest Belfast. It publishes strong, original voices. Send story submissions to Emma by 31 January. Details: email: Emma@noalibispress. com; website: www.noalibispress.com
WRITERS’ NEWS
UK PLAY MARKET Play time for script writers Tina Jackson
Scripts for Stage is a new publisher of scripts that can be performed on stage by one or more actors Publisher Peter Nuttall has been involved in the theatre as an actor, director, writer and producer for 22 years. ‘In that time I’ve worked with various theatre groups, schools and professional organisations where I’ve seen theatre change lives,’ he said. ‘I set up Scripts for Stage in January 2018 to actively encourage new writers to keep writing, keep improving and keep creating. Scripts for Stage is customer-driven in its approach. ‘Our customers have various different requirements so we publish anything from full length original dramas to adaptations of classic literature. We also publish sketches, pantomimes, comedies, monologues, plays for children and one act plays. Our customer base is so varied, we want to make sure we have something for everyone. In the future we hope to become one of the largest online resources of play scripts with the most varied and original content. We’re also hoping to begin publishing musicals in the near future to enable us to cater for all of our customers’ requirements.’ All the scripts are hosted online so the customer can read them in full at no cost before choosing the one that suits them. ‘The scripts are all instantly downloadable and sales are as easy as adding scripts and performance licences to a basket and checking out. Because of this, there are no overheads and our authors receive a higher royalty per sale.’ Peter is looking forward to hearing from writers who have an original play script. ‘We’re happy for new writers to pitch something to us we hadn’t previously considered, the more original the better. If we see promise in a script or a potential market, we’ll suggest revisions so that the playwright doesn’t feel that the months they’ve spent crafting their plot and characters has been for nothing.’ He’s open to a wide range of possible scripts. ‘We’re looking for anything entertaining, innovative or engaging. Whether that be a three-act, large-cast play about the American Civil War or a ten-minute, two-actor play for children about frogs, we’re excited to read it. In my experience, producers quite often don’t know what they want to produce next so the more inspiration and original ideas they get to look through, the better.’ A good script is one that’s been visualised, says Peter. ‘On stage, everything has to be bigger than it is in real life. It’s not enough to get a character to raise an eyebrow or grin slightly, it has to be obvious to the people sitting at the back of the theatre what the character is feeling, what their intentions are and that their motivations are entirely consistent with what we know about them. Writers need to consider what goes on behind the scenes as well as the audience. ‘What makes for a good plot is entirely subjective so writers need to think about how they’re going to keep both the audience and the producing company interested,’ said Peter. ‘Think about the staging and how easy it is to create and move between scenes. Make sure the backstage crew have enough time to change scenery and the actors have time to change costumes, etc.’ Prospective playwrights should contact Scripts for Stage through the web form in the first instance. ‘This will capture all the information we need to make a decision on whether it’s worth sending us the script,’ said Peter. Scripts for Stage pays writers at least 80% of all sales of both scripts and performance licences. All scripts are published digitally on the website for customers to read in full before they make a decision of which to purchase. They can then add the script to their basket and check out, at which point they are provided with links to instantly download the producer’s copy in both doc and PDF formats. ‘Should the customer require us to print and post the script, we do charge a little extra for printing and postage,’ said Peter. Website: https://scriptsforstage.co.uk www.writers-online.co.uk
Novel Ideas
Never hurt kittens Lynne Hackles says it’s far from a cat-astrophe if you include pets in your stories Got a cat? Are you a cat-lover? If so, pop over to Facebook where writers waste oodles of time posting pictures of old cats, young cats, silly cats and clever cats. (They do dogs too.) How many people own pets? Lots. Adding an animal or pet into a short story can give that little added extra. Your character is sad and is cuddling her cat. Or perhaps she’s speaking to a friend and they are in the kitchen. Give her something to do. Let her open a tin of cat food and call for her moggy. A character giving a home to a stray is probably a nice person. One who kicks the neighbour’s cat is almost definitely a bad person. Cats can be characters or add more to a human’s character. Think about allowing a cat to creep into your short story or novel. It needn’t be a cuddly one. You could have a creepy cat in your story. Cats make great characters in spooky stories. I’ve sold several spooky cat spinechiller stories over the years. In one the villain of the piece could turn into a cat. A spooky cat needs age. Kittens aren’t creepy (but they could be). Kittens are cute. Don’t hurt kittens. An editor who always used twist-end stories once told me how she received hundreds of complaints about a story she’d published where a kitten died. There’d never been a single complaint about any of the hundreds of stories she’d used where wives murdered their husbands or lovers. So, paws for thought (Sorry, I couldn’t resist that one!) and consider adding a pussycat to your story. A few purrs and a fur ball could give an added dimension. I’m joking about the fur ball but do take care over who is murdered or abused in your stories. Never hurt kittens. FEBRUARY 2018 2019 DECEMBER
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WRITERS’ NEWS
FLASHES
UK CHILDREN’S MARKET Picture this
Creates Magazine is a quarterly arts, culture and design journal that acts as a platform for artists, exhibitors and creatives of all kind. Details: email: hello@ createsmagazine. com; website: www.creates magazine.co.uk Edinburgh Evening News deputy editor Euan McGrory has been promoted to editor. A blue plaque is to be installed in Pontefract, West Yorkshire, to honour Elizabeth Moxon who wrote an early cookery book, English Housewifry. Manchester Evening News publisher Reach is preparing to launch a new county-wide website called Lancashire Live. The £30,000 William Hill Sports Book of the Year Award has been shared for the first time, between A Boy in the Water, Tom Gregory’s story about being the youngest person to swim the Channel, and The Lost Soul of Eamonn Magee, the biography of the Belfast boxer by Paul D Gibson. The 2018 London Short Story Prize, worth £1,000, was won by Guy Ware for his story The Year of Peace. ‘I became a connoisseur of that nasty thud a manuscript makes when it comes through the letter box.’ James Herriot
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Tina Jackson
The boutique indie Emma Press will launch its first call for picture book proposals later this month. Proposals will be invited for picture books for children with potential for crossover appeal. All finished picture books will be 32 pages, including front-matter and end-matter. The Emma Press will welcome proposals from writers and writer-illustrators. Submissions will be particularly welcomed from writers under-represented in publishing. ‘Picture books are a vital part of childhood,’ said publisher Emma Wright.
‘They are where we start to learn about ourselves and the world around us, and about the possibilities of literature, art and the imagination. There is still so much work to be done to make the world of picture books an inclusive, welcoming place where children can see themselves and also learn about others. I am looking forward to building an exciting, outwardlooking list for children of all backgrounds.’ All submissions to the Emma Press must be original, and writers must hold all rights. Creators of singleauthor texts are paid royalties. The window will open on 14 January and close on 20 April. Website: https://theemmapress.com/about/ submissions/
GET POETRY KITTED OUT The Poetry Kit is inviting entries for its Winter Competition 2019. The competition is for poems of any length on any subject. There is a first prize of £100 and a second prize of £50. The competition judge will be Jim Bennett. To enter, send original, unpublished poems. Poems may
be presented in any form. Send poems by email as a single doc attachment. Your name must not appear on the manuscript. If you are using a pen name, include the real name in the submission email. Use the subject line ‘competition entry’ along with full contact details and poem titles.
The entry fee is £3.50 for one poem, £8 for three poems, £10 for five poems and £15 for eight poems. Pay it by PayPal or debit/ credit card. The closing date is 22 January. Details: email: comps@ poetrykit.org; website: www. poetrykit.org
GIVE ME BALTIMORE The Baltimore Review is a literary journal publishing short stories and poems, from writers in the city and beyond. The online version is used to explore new ways to bring the world of writers and writing to the reader’s attention. Read the online work and check the guidelines. There is a list of editor’s preferences and tips for writers. Submit, through the website: up to three singlespaced poems in one document, which do not have to be about the theme; a single short story, up to 5,000 words, or up to three pieces
www.writers-online.co.uk
of flash, or creative nonfiction of the same length. Simultaneous submissions are permitted, but not reprints or multiple subs. Submissions of video stories, whether storytelling, acting, animation or anything else, are also welcome, under three minutes, as Youtube or Vimeo links. There is also a None of the Aboves submission slot for anything else. Response time is ‘within four months’. Payment is $40, through Paypal or as an Amazon gift certificate. Website: http://baltimorereview.org/index.php
WRITERS’ NEWS
INTERNATIONAL ZINE SCENE Mirror Dance is a free online quarterly of all sub-genres of fantasy, including magic realism, urban or contemporary fantasy, sword and sorcery, fantasy-of-manners, and stories with mythological or folkloric themes. The editorial team enjoy ‘dark fantasy, science fantasy, and historical fiction with fantasy elements’ and are ‘especially interested in publishing secondary world stories, and stories from diverse ethnic, racial, and religious viewpoints’. Submissions are open for fiction, flash fiction, poetry, prose poetry, and ‘pieces that blur the lines between poetry and prose’. Fiction, no more than 6,000 words, should favour ‘dynamic, fully-developed characters and richly detailed settings over stories driven by a particular twist or plot device’. Poetry, any style, any length, ‘must have an identifiable fantasy or mythic element’. Send no more than three at a time. Reprints are accepted providing the work is not currently online or in print; no simultaneous or multiple submissions. Submit doc, docx or rtf files by email. Response time is ‘within two months’ Payment is $5. Website: www.mirrordancefantasy.com
The Roadrunner Review is an online literary journal published by the students at La Sierra University, California, open only to submissions from under- or post-graduates. Students worldwide are invited to submit fiction or non-fiction of no more than 1,000 words or up to three poems. Poems that are ‘attentive to language, are grounded in the concrete, and take us on a journey’ are favoured. Short stories should feature ‘fascinating characters, a strong sense of place,’ and conflicts to ponder over. Nonfiction in the form of essays and memoirs must ‘grapple with something of significance’. Sim subs are welcome, but not multiples or reprints. Submit doc or docx files through the website. Response time is ‘reasonable’. Payment is $100 for one piece in each genre. Website: https://roadrunner.lasierra.edu
Liquid Imagination is an ezine merging complementary imagery and words. Writers do not have to find artwork; the editorial team do that. The team seek stories and poems of ‘high intensity, with high emotion’. Submit doc or docx files, after following the guidelines carefully, especially the long ‘We Do NOT Want’ list. Response time could be up to four months. Payment is $8 for short stories (1,001-6,000 words) and poems, and $3 for flash stories (up to 1,000 words). ‘A $2 bonus will be added for authors who accept payment via Paypal.’ Website: https://liquidimagination.silverpen.org Hysterical is a brand-new quarterly zine for women writers only, ‘a dudeless literary utopia’ championing ‘the voices of writers who are women, femmes, and non-binary people… writing against prevailing patriarchal expectations, and against the expectations society places upon them as non-men.’ Submit ‘brash, combative, and subversive humour’ as well as ‘cerebral, tragic, daring, experimental’ writing. Surprise them with quality prose, poetry, and hybrid/cross-genre writing. Simultaneous submissions are accepted, but not multiple subs or reprints. Submit 3-5 poems or one long piece, criticism and narrative nonfiction, fiction, short stories, prose poems, flash fiction, novel excerpts, hybrid mixes, under 5,000 words, as doc or pdf files. Response time is ‘reasonable to quick’. Payment is $50 per accepted prose piece or group of poems. Website: https://hystericalrag.com The Mighty Line is a new literary magazine publishing short stories, articles, essays, or interviews ‘on the subject of writing, editing, publishing, or art in general’. The editor seeks unsolicited submissions of quality literary fiction. Think literary not genre and flash fiction is welcome. Fiction should tell a compelling story in less than 4,000 words and leave the reader with something to think about. Multiple and simultaneous submissions are accepted but reprints are not. Response time is ‘reasonable’. Payment is $25. Submit a doc or docx file through the website: www.marloweandcompany. com/publications.html
www.writers-online.co.uk
by PDR Lindsay-Salmon
Imagined Magazine is an online space for non-fiction writers ‘who have something to say about (pretty much) anything’. It needs ‘political analysis, essay, criticism, and social commentary’ in four main categories: Politics, Culture, Criticism, and Et Cetera. Essays, 800-2,000 words, should avoid the topical so that they retain their relevance. Follow the guidelines and submit a pdf by email: contact@theimaginedthing.com. Response time is ‘reasonable’. Payment is $35 per piece for two weeks’ exclusive rights. Website: https://theimaginedthing.com The Piltdown Review calls itself ‘a journal of remarkable finds’. The editor, William Shunn, seeks ‘fiction that balances elegant writing with actual story, and poetry that hits you in the sweet spot between imagery and ineffability’. Submit stories, 1,00010,000 words, in any genre including speculative. Poems need ‘a compelling voice and vivid imagery’ and must ‘say something inexpressible in prose’. Submit one story per file, or five poems in one, in doc, docx, pdf, rtf and wpd format. Response time is ‘six to eight weeks’. Payment is 10¢ a line for poetry, 1¢ a word for fiction Website: www.piltdownreview.com The Weird and Whatnot is another new zine set up by ‘a community of authors, artists, poets, and readers who love the odd and weird’. The team publish a speculative fiction e-zine and The Weird Bookclub podcast. This is a group with a sense of humour. They seek submissions of poetry, prose, short stories, flash fiction, first chapters, graphic narratives, plays/screenplays, and 2D artwork. The preferred genres are ‘speculative fiction: science fiction, fantasy, science fantasy, alternative history, magical realism, slipstream, or horror’. But beware anything which smacks of TV copies or fan fiction, Short stories, no more than 10,000 words, need to entertain, enlighten, and be full of interesting characters. Artwork submitted must be ‘in a printable medium: videos, slideshows, or audio tracks are not publishable by The Weird and Whatnot at this time.’ Response time is ‘within a month’. Payment is $10 for written works of over 1,000 words, $5 for artwork and shorter written work. Submit through the website: http:// theweirdandwhatnot.com
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WRITERS’ NEWS
FLASHES Bridgend Writers’ Circle’s annual short story competition is for stories, 1,5001,800 words, on any theme. Prizes are £100, £50, £30 and publication on the Circle’s website. Entry fee is £5, £7.50 for two; closing date is 1 March. See the full rules and entry form on the website: http:// bridgendwriters. webplus.net The Circle meets at Carnegie House, Bridgend on the first Thursday of each month. New members are welcome. Email queries to: fenos51@ hotmail.co.uk Michelle Obama’s Becoming, which sold more than two million units in the US and Canada in the two weeks following its November 13 publication, is being published in 31 languages. Martin Wright has been appointed editor-in-chief for the Midland News Association, overseeing two daily newspapers, the Express and Star, as well as the Shropshire Star. Maya C Popa has joined Publishers Weekly as poetry reviews editor. 28 years after his death, Roald Dahl’s war medals, won during his time as an airman in WWII, have been given to his family. They were not received earlier because of a ‘bureaucratic mix-up’. ‘Be prepared to work hard to be a writer.’ US thriller writer Sandra Brown, author of more than sixty bestsellers
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GLOBAL LITERARY MARKET
A light on the Darkhouse PDR Lindsay-Salmon Darkhouse Books is a US small press publishing novels, novellas and short story anthologies. Currently the editors are seeking short stories for two anthologies, What We Talk About When We Talk About It and MidCentury Murder. What We Talk About When We Talk About It is for ‘variations on the theme of love’, and the editorial team want ‘your best poetry or prose on this very broad theme’. The team ask writers to think about love. What is it? Is the love for a partner the same as the love for the pet dog? What is love, anyway? ‘What does love make people do? What will people give for it? What will they steal?… Where does sex figure in all of this? Does it?’ The team ‘leans toward the literary while welcoming all genres, as long as the author has paid close attention to craft’, apart from standard romance. Prose should be short and tight, stories up to 5,000 words. Reprints are accepted providing the piece was published more than a year before submission. See the detailed guidelines on the website before submitting a doc or docx file, no more than five poems and/or two prose. The deadline is 28 February. Mid-Century Murder is an anthology for cosy to cosy-noir crime stories which must be set in ‘the late
forties up to the very early sixties’. The era is important and should be well researched and a necessary part of the story. Readers should feel they are visiting the era. Writers must research ‘fashions, homes, furniture and furnishings, vehicles, restaurants, stores and products, music, movies, radio and television, etc’. The guidelines offer some good suggestions for research. Stories should be 2,500-6,000 words (4,000-5,000 preferred). See the specific anthology guidelines on the website. The deadline is 31 March. For both anthologies the response time is ‘slow to reasonable.’ Payment is a share of 50% of the gross royalties for exclusive rights for one year. Details: Darkhouse Books, email: submissions@ darkhousebooks.com; website: http://darkhousebooks. com
Picture winning this prize Unpublished children’s authors and illustrators are invited to enter the Stratford Lit Fest/Salariya Books Prize 2019. The competition, which is part of the festival’s Sharing Stories project, is for authors with a story for children up to five years old, or from illustrators creating images for that age group. The winner will receive £1,000 and Salariya Books imprint Scribblers will have the option to publish the winning entry. To enter, writers and illustrators must be unagented and must not have published a children’s book with a mainstream publisher. Selfpublished writers may enter. Writers should send a doc file of an original, unpublished manuscript for an unrhymed children’s book up to 28 pages for children between birth and five. Illustrators should send pdfs of two completed double-page
spreads for a children’s book up to 28 pages and rough artwork of the rest of the book. Use your name as the filename. Include a front sheet with name, address, phone number and email address. Submit by email. One submission will be accepted per writer or illustrator. Entry is free. The closing date is 31 January. Details: email: stratfordsalariya-prize@salariya. com; website: www. stratfordliteraryfestival. co.uk/article/childrens-bookcompetition
www.writers-online.co.uk
Cúirt calling The Cúirt New Writing Prize is open for entries of poetry and short fiction. There is a €500 prize in the poetry and short fiction categories, and the winners will be invited to read at the Cúirt International Festival of Literature in Galway in April. Writers must not have previously published a collection in the category they are entering. Send original, unpublished short fiction up to 2,000 words and poems up to fifty lines. Send entries by email. Your name must not appear on the manuscript. Include details of name, email address, phone number and PayPal account holder in the submission email. The entry fee is €10 for each submission, payable by PayPal. The closing date is 31 January. Details: email: cnwp@cuirt.ie; website: www.cuirt.ie/cuirt-newwriting-prize-2019/
WRITERS’ NEWS
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In 2013 editor Sollee Bae founded Fiction Writers in Seoul, a creative writing community of travellers and expats from around the world based in Seoul, South Korea. Bae has translated many English language works into Korean, including such modern classics as Zorba the Greek. Now Writers in Seoul are launching an English language publishing imprint, with titles also translated into Korean and offered to traditional Korean publishers. Currently Bae is seeking stories for an anthology to be called To Seoul, from the World. Stories should be no longer than 6,000 words, and be set in or about the city of Seoul. Contributors are encouraged to interpret this freely, and submissions can be in any genre but should be fresh and relatable, giving an insight into the city and its culture. Which is to say, don’t take a story
you’ve written set in a different city and change the name to Seoul. Traditionally crafted stories are preferred over experimental pieces. Writers from anywhere in the world are welcome to submit. Payment is 5¢ per word for first world English language rights and Korean translation rights for twelve months. Deadline is 31 January. Send your submission to submission. ficwriseoul@gmail.com as an attachment. Multiple and simultaneous submissions are acceptable, but notify right away is you sell your story to another market. Response time is around twelve weeks and the book will be published later in 2019 in both print and ebook forms. Follow the guidelines, see the sample contract and submit through the website: www.fictionwritersinseoul.com
Writing in your own voice Owned Voices, a new initiative from publishing executive Leodora Darlington at Bookouture with Spread the Word, is inviting applications from writers under-represented in publishing to its first writers’ workshop, on the theme of beginnings. Leodora set up Owned Voices so that writers from diverse backgrounds could have dedicated space to concentrate on their writing. ‘There’s been a lot of discussion about diversity – or lack thereof – in publishing, and it’s fantastic that we’re opening up conversations about it.’ said Leodora. ‘I think it’s important to ensure that actions go along with those conversations in order to make real change. There are so many exciting untold stories out there, and it’s important that those brilliant stories are heard.’ The first workshop with Leodora will take place on 23 February at The Book Club and will consist of creative writing exercises, advice on submitting, an industry guest speaker and industry insight. Applications for the first workshop are invited from under-represented writers. Bookouture will offer manuscript feedback to six writers. Apply through the online contact form, attaching a writing sample consisting of either a 2,000-word extract from the beginning of a novel, or a short story on the theme of beginnings. Leodora will provide feedback on each submitted piece. The closing date is 9 February. Website: https://ownedvoices.com/
Keep it (very) short Lancashire Authors’ Association is inviting entries for its open flash fiction competition, A Story in Exactly 100 Words. The prize is £100. To enter, send original, unpublished stories of 100 words (excluding title). Type entries on single sides of A4 in double spacing. The writer’s name must not appear on the manuscript. Include a separate front sheet with full contact details and story title. Enter by email, sending doc files, or by post. The entry fee is £2 each, or £5 for three. Pay this by PayPal, or cheques made out to Lancashire Authors’ Association. The closing date is 31 January. Details: The Competitions Secretary, 2 Pardoe Close, Hesketh Bank, Lancashire PR4 6PT; email: laa100word@gmail.com; website: www. lancashireauthorsassociation.co.uk www.writers-online.co.uk
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Gary Dalkin
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One word A chain of thoughts can swiftly be created from a key word, says Patrick Forsyth t was the wonderful Joyce Grenfell who said: ‘If I knew where my inspiration came from, I would go there again.’ While some of the material in travel writing is essentially factual, inspiration is necessary, or at least some ideas. This may apply in terms of the overall theme and content of a piece, and is true when it comes to details, because you must at least to try to make something distinctive. Inspiration can strike out of the blue – where did that come from? – but a more systematic approach may bear fruit too. One way of prompting ideas, that might constitute a simple form of mind-mapping, simply starts with a single word. Consider ‘luggage’ and let’s see where it takes us: Well, a suitcase needs packing, and what you select to take needs considering too. I am sure there is lots to write about that. Then there is the type of luggage. Could you review luggage, or suggest what is most likely to survive the heavy-handed attention of airport personnel? Some suitcases cost the earth – indeed, some top-brand suitcases look as if they cost the earth. Does that make them a prime target for thieves? If so, who buys these things? Mobility is another issue. I have a personal rule never to travel with a case that is heavier than I can comfortably manage. Then if, say, a flight is late and I have to rush for a connection I can do so without (too much) hassle. Then there is how the case makes its journey. There must be a good deal to write about luggage handling at airports, large and small, and about how cases are stowed on board. This also applies to the many curiously shaped packages that some travellers take. Sometimes you observe notable things. Once, having boarded a river cruise boat in a way that involved very high class service, I saw a tiny open launch pass by my cabin window piled untidily and absurdly high with luggage. My suitcase was visible teetering at the top of the huge pile. It made it safely to my cabin, but I did have a worrying few minutes. Another rich seam to be mined might involve forgotten things and lost or damaged luggage. And the long, timeconsuming. labyrinthine processes of retrieving luggage, which can sometimes present a real worry, for example if important medicine is lost. This list could doubtless be extended and yet just one word starts it. What about hotel, aeroplane or passport? It may be surprising just how long a chain of possibilities this process can create and how many ideas can come from it. Right, choose a word.
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WRITERS’ NEWS
FLASHES
GLOBAL LITERARY MARKET Go West
Slipstream Poets Open Poetry Competition has £150, £100 and £50 prizes, with £25 prize for the best entry by a West Sussex poet. Submit unpublished poems, up to sixty lines, by post. The entry fee is £5, £3.50 each extra. The closing date is 28 February. Details: Competition Secretary, 9 Beechwood, Southwater, West Sussex RH13 9JU; website: www. slipstream-poets.co.uk
West Branch is a US print magazine publishing poetry, fiction, essays, and reviews. Based at the Stadler Center for Poetry, Bucknell University, this magazine has a prestigious reputation. As many magazines do these days there is a website presence, West Branch Wired, with some work published there. Read it before submitting. These editors like writers to understand the style and tone of the magazine. Submissions are open until 1 April
Stiwdio Maelor in Wales is inviting applications for funded four-week residencies from writers, visual artists and other creatives. To apply, writers should send an outline of their current project and a writing sample. There is an application fee of £30. The closing date is 30 January. Website: https:// stiwdiomaelor.com/
The White Review Short Story Prize is open for entries. The annual award is for ambitious short fiction by UK writers who have yet to secure a publishing deal. It has a first prize of £2,500. The winning story will be published in the print edition of the quarterly White Review. The shortlisted entries will be published online and their authors will receive feedback from The White Review editors. Submissions are welcomed in all literary genres and the judges are looking for innovative, imaginative work that explores the possibilities of the short story form. The competition is for short stories between 2,000 and 7,000 words by writers who have not got, and have never
An unrecorded, handwritten manuscript by the poet John Donne discovered at Melford Hall in Suffolk was sold by Sotheby’s for £466,000. The winner of the first £1,000 Bluepencilagency First Novel Award is Jules Lampshire for My Poor Deluded Girl. Runner up Mandy Robotham wins £250 for Breeder. ‘Let grammar, punctuation, and spelling into your life! Even the most energetic and wonderful mess has to be turned into sentences.’ Terry Pratchett
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for poetry, fiction, creative nonfiction, and translations. There are few restrictions on style, length or topic and writers are encouraged to send their creative best. Send no more than two submissions each reading period; no reprints; simultaneous submissions are reluctantly accepted, so best not. Poetry submissions should be six poems at most, prose no more than thirty pages, in a single doc or rtf file. Response time is ‘ten weeks or less
– often much less’. Payment is $50 for poetry, 5¢ per word for prose, up to $100, plus two copies and a one-year subscription for first North American serial rights or first Worldwide serial rights. Website: https://westbranch.blogs. bucknell.edu
Rewarding ambition for unpublished authors had, a contract with a publisher for a work of fiction. Writers may previously have published non-fiction, and have had fiction published in magazines and journals. Literary agents may submit on behalf of their authors as long as the eligibility criteria are met. All entries must be original and previously unpublished. Submit entries via the online form as a single pdf, doc, docx, rtf or txt file with numbered pages. The first page should include the story title and word count. Include a brief cover letter with name, contact details and story title in the same file. Each writer may submit one story. The entry fee is £15, payable through the online submission system. Fifty free entries for writers on low incomes may be applied for up to 24 January. The closing date is 4 March. Website: www.thewhitereview.org/prize
Play for a big prize with Papatango Papatango and Southwark Playhouse are welcoming submissions of new stage plays for the the Papatango New Writing Prize. The prize winner will develop their play with Papatango in preparation for a four-week production in the autumn. The winner’s script will be published by Nick Hern books and the
writer will receive 10% royalties. Following the stage production, the winner will be awarded a £6,000 commission to create a new play, with Papatango providing developmental support. The competition is for an original, unperformed and unproduced full-length stage play (minimum sixty minutes / forty pages / 9,000 words). Send
entries as doc files or pdfs with numbered pages. The writer’s name must not appear on the manuscript. Include a contact telephone number on the first page of the manuscript. Submit via the online submission form. Entry is free. The closing date is 17 February. Website: https://papatango. co.uk/#new-writing-prize
Chip away at short story success The Chiplitfest Short Story Competition is open for entries. The competition, which will be judged by Nicholas Royle, is for short stories up to 5,000 words. There is a first prize of £500, a second prize of £100 and a third prize of £50. The authors of the top ten stories will have the opportunity to be featured on www.pennyshorts.com, which publishes short stories. The competition is open to all writers, published and unpublished. Entries may be in any genre or style and on any subject. All entries must be original and unpublished, and aimed at adult readers. Your name must not appear on the www.writers-online.co.uk
manuscript. Manuscripts should be doc or pdf files, double or 1.5 spaced, with 12pt font and numbered pages. Use the exact story title as the filename. Submit online or by post. Postal entrants should include a cover letter with contact details and story titles. The entry fee for stories up to 2,500 words is £5, and £8 for stories up to 5,000 words. Entry fees are payable by PayPal, or by cheques made out to CLF Trading Ltd. The closing date is 7 February. Details: CLF (PSSSC), Cleevestones, Main Street, Chipping Norton OX7 5PH; website: www.chiplitfest.com
WRITERS’ NEWS
UK MAGAZINE MARKET No bum notes Tina Jackson
Total Guitar is a monthly guitar magazine aimed at intermediate and beginner players who are QUEEN looking to learn how to get more out of the instrument with techniques, reviews, guides and features with inspiring pro players. JEFF It’s the bestselling guitar magazine PLAY HEALEY’S BETTER BLUES in Europe. FASTER! The essential ‘We are a magazine for guide to guitar greatness for musicians, rather than just a music all abilities mag for listeners,’ said editor Rob Laing. ‘That guides everything we do. We want our readers to be YOUR JAG & JAZZMASTER inspired and for TG to make them MOD want to pick up their guitars so we try to get advice from artists and contributors based on their experiences as players. The guitar world is rich and varied with different approaches to technique, tones, writing and performing so it’s important for our content to reflect that.’ Average readers are in their early thirties. ‘They want to improve and tend to play at home for fun or with friends. They don’t tend to be playing live regularly so we need to to keep that in mind and not alienate any “bedroom” guitarists in our features,’ said Rob. To reflect this, the main cover feature will usually focus on helping players with a learning topic; from expanding your chord vocabulary or improving blues styles. ‘We’ll integrate popular artists into these features where possible. We have technique regulars that are supplied by our in-house techniques editor and also a trusted team of contributors.’ TG is reader-driven. ‘We’re primarily guided in what we think our readers want to know about artists and topics,’ said Rob. ‘It’s vital we reflect the topics that matter to our readership – what do they want to learn? How can we help them do it? Who do they want to learn more about in the mag? My aim is then to deliver them a unique and valuable experience. I want our readers to keep every issue on their shelf; to provide them with valuable material they will want to go back to. That desire to provide genuine value to our readers guides everything the TG team does.’ Longer features will often mix inspiring input from the artist with access to their gear. ‘We’re keen on creating USPs with artists when we can; readers are looking for exclusive and special artist coverage so our Round Table format makes for unique insight from a number of pro players discussing topics with us in an interview format. I recently interviewed six progressive metal players together for one – which is a METALLICA
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new record for us in one sitting!’ Regular feature slots include Fix Your Guitar, which looks on the practical side of guitar repair and modification. Artist-related topics include Me & My Guitar (a picture-led piece with a player talking through their main guitar’s features), Rig Tour and Five Minutes Alone (a one pager mix of set and bespoke questions with an artist). Features range from 600-word one pagers to 3,000-word artist pieces that combine an interview with a picture-led gear spread. Cover features can be anything up to sixteen pages and will sometimes be divided by contributions from a number of writers. Rob is interested in hearing from freelances who can offer in-depth insight into the guitar world and interesting angles on coverage. ‘We’re less interested in access to artists we can already get on their promotional campaign, and more into what angle a writer is proposing. We believe our readers want more than shallow pieces promoting an album and more insight they can gain from how players approach the creative process and their sound. So we want to know, what will a writer bring to an interview situation that other writers may not? A player’s mindset is therefore vital – a sensitivity to what challenges and opportunities the guitar offers players of all levels.’ Rob’s also interested in ideas for how-to guides. ‘Articles on playing and getting more from your guitar gear that offer a fresh and inspiring take on topics for players are always welcome – I would say there’s a huge shortage of writers that can supply this kind of material.’ It’s vital that prospective writers understand that TG is a magazine for players, not just music lovers. ‘We get a lot of approaches from writers who are likely to be pitching to music listening mags too. It’s important to keep in mind that we’re a guitar magazine for players and you need to put yourself in the shoes of a guitarist. If you’re already a guitarist, you’re at an advantage! Also it’s unbelievable how many people contact us about potential work who have clearly never read our magazine. I’d advise that writers take the time to get familiar with any title they’re pitching to.’ Contact Rob with ideas by email. He needs to see examples of writer’s work, preferably previously published examples, some great ideas, and know availability for phoners and in-person interviews. Payment varies. Detail: email: Rob.laing@futurenet. com; website: www.musicradar.com/ totalguitar
This prize is no laughing matter The Comedy Women in Print Prize has announced that it will be joining forces with HarperFiction to offer a £5,000 publishing contract as the prize for an unpublished author. The runner-up prize is a free MA course in creative writing from the University of Hertfordshire. The prize was launched by comedian and writer Helen Lederer in response to lack of support for comedy writing by women and to discover and encourage new talent. ‘When HarperFiction came through with this unique and serious offer to publish new work…Well, I had to sit down,’ said Helen. ‘It proves that witty female fiction is being taken seriously from the top down. I love HarperFiction for doing this. They will not be
sorry… and they will definitely laugh more.’ To submit, unpublished women writers should send the first 5,000 words of a novel and a one-page synopsis. The novel extract should be double spaced in 12pt font and the synopsis should be single-spaced. The novel title should be at the top of the document. Your name must not appear on the manuscript. Submit the extract and synopsis in a single document through the online submission system. Completed novels will be requested by 30 March. There is a £10 entry fee, payable by PayPal. The closing date is 28 February. Website: www.comedywomeninprint.co.uk
www.writers-online.co.uk
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Competition rules and forms Enter online at www.writers-online.co.uk or by post, with the ref code in the address, to: Writing Magazine Competitions (Ref Code xxxxx), Warners Group Publications, West Street, Bourne, Lincolnshire PE10 9PH. Remember to add a front sheet with full contact details and the name of the competition you are entering (see Rule 3)
To enter: • Character-driven short story competition (see p31) For short stories focusing on one primary character, 1,500-1,700 words; entry fee £6, £4 for subscribers; closing date, 15 March; Ref Code: Feb19/Char
How to enter Competition Rules 1 Eligibility All entries must be the original and unpublished work of the entrant, and not currently submitted for publication nor for any other competition or award. Each entry must be accompanied by an entry form, printed here (photocopies are acceptable), unless stated. Open Competitions are open to any writer, who can submit as many entries as they choose. Entry fees are £6, £4 for subscribers. Subscriber-only Competitions are open only to subscribers of Writing Magazine. Entry is free but you can only submit one entry per competition. 2 Entry Fees Cheques or postal orders should be payable to Warners Group Publications or you can pay by credit card (see form). 3 Manuscripts Short stories: Entries must be typed in double spacing on single sides of A4 paper with a front page stating your name, address, phone number and email address, your story title and word count and the name of the competition. Entries will be returned if accompanied by sae. Electronic entries should be a single doc, docx, txt, rtf or pdf file with the contact details, etc, on p1, and your story commencing on the second page. Poetry manuscripts: Entries must be typed in single spacing with double spacing between stanzas on single sides of A4. Entrant’s name, address, telephone number and email address must be typed on a separate A4 sheet. Entries to poetry competitions cannot be returned. Electronic entries should be a single doc, docx, txt, rtf, odt or pdf file with the contact details, etc, on p1, and your poem on the second page. All manuscripts: Receipt of entries will be acknowledged if accompanied by a suitably worded stamped and addressed postcard. Entrants retain copyright in their manuscripts. You are advised not to send the only copy of your manuscript. Enclose an sae if you want your manuscript to be returned. 4 Competition Judging Competition judges will be appointed by Writing Magazine and the judges’ decision will be final with no correspondence being entered into. 5. Notification Winners will be notified within two months of closing date after which date unplaced entries may be submitted elsewhere. Winning entries may not be submitted elsewhere for twelve months after that date without permission of Writing Magazine who retain the right to publish winning entries in any form during those twelve months
• Minute poem competition (see p57) Poems on any theme, containing exactly 60 syllables, in minute form; entry fee £6, £4 for subscribers; closing date, 15 March; Ref Code: Feb19/Minpoem
• Dialogue only competition (see p31)
• Children/YA competition
For fiction, 1,500-1,700 words, incorporating dialogue only; entry fee £6, £4 for subscribers; closing date, 15 February; Ref Code: Jan19/Dial
Fiction, maximum 1,500 words, on the theme ‘equality’; free entry, subscribers only; closing date, 15 February; Ref Code: Jan19/Child
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www.writers-online.co.uk
NOVEMBER 2018
95
My Writing D
ay
KIMBERLEY CHAMBERS The bestselling gangland crime writer tells Lynne Hackles why she’s happier writing the late shift
‘I
never knew I could write,’ says Sunday Times number one bestselling author Kimberley Chambers. ‘I left school at sixteen with no exams and found myself a job on Roman Road market. I worked for a guy called Harold who sold ladies’ fashion. I also worked on Petticoat Lane, Dagenham, Pitsea and Whitechapel markets. The Roman was my favourite and back in the early 1980s it really was the place to be. My love for music led me into DJing. In total I spent about fourteen years doing that. I then worked as a minicab driver for ten years before my first book was published. I was 38, and decided to have a bash to see if I could do it. I always had a passion for reading and writing at school, but never dreamed I’d be any good at penning a novel myself. ‘My friend Pat, who used to run the bookstall in Romford market, recommended the Writers’ & Artists’ Yearbook. I sent the first three chapters of my first novel to a dozen or so agents with a covering letter stating: ‘Take a chance on me, you won’t regret it. This time next year I want to be wearing Prada, not Primark.’ I heard back from the first within 24 hours. Within a week or so I heard from another four. I spoke to them all and made my choice, which I’ve never regretted. I’m honoured to say that I now have my own article in the Yearbook, giving tips to aspiring writers. ‘The way my career has taken off since is like a dream come true. 96
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‘I’ve been writing full-time since my first book, Billie Jo, came out ten years ago this year – because, by then, I’d already signed a second book deal. ‘I’m not much of a morning writer. I usually go to the gym in the morning. Come home for lunch and have a siesta before starting work late in the afternoon. I carry on until midnight or thereabouts. I’ve always been a bit of a night owl. ‘Writing about gritty, gangland crime was the obvious choice for me. I grew up in Dagenham and mixed in that world. Having worked the markets and drunk in the East End from a young age, I’d met many a villain and intriguing characters but my books are purely fiction. I come from a small but humorous family and some of the traits of my characters are based on my parents, uncles and aunts, and some of the funny instances in the book have actually happened to my friends and me over the years. ‘As for research, I don’t do much on the criminal side but on the police procedural side I’ve a friend who is an ex-Chief Inspector who helps with any questions. I met him years ago when he smashed my door down and proceeded to arrest me. We’re now close friends and I took him and his wife out recently for a meal as a thank you to them both. ‘Every year I do a tour across the country to promote my hardback. I love to go out and meet my readers, some of whom I already know through social media. I also go to festivals, give talks in libraries, visit prisons, and do book signings. I’ve been on www.writers-online.co.uk
Radio 2 and 4 numerous times. I had a great time on the Graham Norton Show – he’s a lovely man. I also had a brilliant time on Loose Ends – I got on famously with Clive Anderson. Like me, he’s a football fan. Unfortunately he supports Arsenal (the enemy)! I’ve also been on Midweek. I’ve had a blinding time on all of them and it’s a fantastic way of reaching a broad audience. ‘I’ve written fourteen books now. My latest, The Sting, is out in February. It begins with a young lad called Tommy Boyle whose life is ripped apart by a series of events. He ends up in a children’s home where he meets a girl who becomes his first love. Their lives go in different directions, and their paths cross again years later in the most shocking fashion. ‘Now I’m working on Queenie (that’s the working title). It’s the prequel to my popular Butler series. It goes back in time to show Queenie and her sister, Viv, as young women, and it will help people understand why the following generations of the family, particularly Queenie’s children Vinny, Roy, Michael and Brenda, became as dysfunctional as they did.’
My Writing Place ‘In the summer I tend to sit at the kitchen table or in the garden to write. In the winter I normally sit in the front room or even work in bed. Unlike most writers, I still write in longhand so it’s easy for me to take my pen and paper and write anywhere. I think my favourite place is sitting on the sofa in the evening, opposite an open fire, with my iPod on in the background. I always listen to music when I’m writing.’
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agazine The Writing M Prize Picture Book
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• What’s the right kind of course for you, and what can you expect to get out of it? • What are the benefits of going on a guided retreat? • How to get the most out of literary festivals
WRITERS’ NEWS
competitions, paying markets, Your essential monthly round-up of industry news. opportunities to get into print and publishing
A new twist on fairy tales
Reflect on that landscape
TRENDS FOR 2019
it? d how do you write • What is ‘uplit’ an g ntial advice on usin se es – ity iv us cl In • rent backgrounds characters with diffe opriately sensitively and appr
have joined forces The National Literacy Trust and Bloomsbury competition for fairy tales for The Short Story Prize 2017, a new for children by unpublished writers. aimed at children Writers are invited to send short stories tale a modern twist. aged 8-12 that give a well-known fairy by Bloomsbury in an The winning entries will be published be donated to the National ebook anthology whose royalties will chosen stories will each BYJENNY ROCHE Literacy Trust, and the writers of the win £200. 2,000 and 4,000 words. Short stories should be between Penguin-Ran domthemed synopsis House’saround digital-only imprint Writers should also include a 350-word of mystery and thriller fiction, Alibi, publishes re-imagining fairy tales. ebooks which whichtemplate, are available the official from all major Submit entries by email, usingretailers Type andsubmission compatiblefee. of their with all reading devices. will be sent to entrants on receiptThe imprint writer’s Theaims to name manuscripts in 12pt Arial, double-spaced. and up-and-coming offer ‘forward thinking authors’ a solid platform must not appear on the manuscript. on which to introduce £30. their work to new There is a submission fee of audiences. All authors will be assigned to an The closing date is 25 June.editor and a website: dedicated t.org.uk; marketer and publicist, Details: email: fundraise@literarytrus will be able to work -prize-2017 with www.literacytrust.org.uk/support/short-story and offered social media a cover designer tools and training to connect directly with readers. Full length works of 40,000 words are wanted. Previously published manuscript will be considered as long as you have s 2017 Lorgnette Pamphlet Series, Eyewear Publishing has launched the builds on the success of series new The submissions. and is inviting was shortlisted for the Michael 2015’s 20/20 Pamphlet Series, which Aviator Pamphlet series. Marks Publisher’s Award, and 2016’s be selected and published Twenty limited-edition pamphlets will are welcome to submit. from this call. All poets working in English unpublished. Upload all and previously Michael Terence There Pamphlets should be original The fee is a £20 system. Publishing Submittable Short Story submissions through Eyewear’s Competition is for short stories by new authors who to submit. is15 September. has never previously been The closing date to submitpublished or self-publish to its annual submissions for ed.Beverley call a has also Eyewear • The noncompetition work unpublished is of forfiction, writing up to 3,000 Series, which is for an original, words, style or subject onfiction, restrictions may be with nowhich science fiction, poetry or criticism, non-fiction for the Beverley Seriesfiction or (ie biography will be selected or in 2018. There matter. One or more worksare prizes be announced earlymemoir). each year, with the inaugural work toof £300, £150 and £50, and submission a is the There winning system. stories will be published Submit online through the Submittable in a print anthology September. fee of £20, and the closing date is 15 and online. award for a its annual Prize, All entries must be original • Eyewear’s Melita Hume Poetry yet andnot who has unpublished 35 and under poet aged by writers full-length collection by a work who have31 August. never beenThe for entries until open published published. published a full collection,orisself Enter £1,000. online, plus collection, formatting of their entries winner receives publication as doc or48pdf Individual pages. 100Your andfiles. name must not appearbetween Submit original manuscripts onbeen the the manuscript. not published, but have poems in the collection may There is athrough is a fee of £3 perThere online reading Submittable. story, collection as a whole. Submit payable by PayPal. £20 submission fee. The closing date is 31 May. blishing.com/ Website: https://store.eyewearpu Website: www.mtp.a gency
offers its winner and two The Alpine Fellowship Writing Prize Fellowship Annual runners-up the chance to attend the Alpine will also be presented winner Symposium in Venice in August. The with £3,000 by poet John Burnside (pictured).writing in response to of The prize will be given for the best piece this is ‘Chora: reflections on the theme of the symposium. In 2017 Plato refers to the Chora as landscape’. The AF17 website notes that the event in which things take ‘“that which gives space” – the site of their shape.’ and writers may apply from All genres of writing may be entered, be original, and must never anywhere in the world. All entries must Send entries by email by 1 May have been published in any medium. subject line. Entry is free. with the name of the prize in the email in joining the symposium • AF17 also invites people interested from all walks of (scholars, artists, poets, and also non-specialists theme. To apply, this year’s life) to send their ideas in response to setting out how and why you send a CV and a three-minute video will cover the food and would contribute to AF17. The Fellowship and might also be able accommodation costs of successful applicantsThe deadline to apply Venice. to help with travel costs to and from is 31 June. p.com; Details: email: apply@alpinefellowshi .com/ http://alpinefellowship website:
Exit earth, enter storgy short story competition Exit Earth is the STORGY Magazine for 2017. to the theme and The competition invites writers to respond a second prize of £500 break free. There is a first prize of £1,000, and a third prize of £250. be original fiction Entries may be up to 5,000 words, should in any genre. Each may be inspired by the ‘Exit Earth’ theme, and writer may enter one story. double-spaced in 12pt docx, or doc Word a as entries Format the story title, author Garamond. Include a front page with should be the story title and name and word count. The filename sent as email attachments author name. Submissions should be in the subject line. with ‘EXIT EARTH – TITLE OF STORY’ by PayPal. Include the There is an entry fee of £10, payable email. PayPal reference number in the submission The closing date is 31 May. Details: email: submit@storgy.com; website: https://storgy.com/
Digital crime on rise
Long-sighted new work
www.writers-online.co.uk
88
MAY 2017
WRITERS’ NEW S
GLOBAL CRIME MARKET
BY TINA JACKSON
New comp for newbies
control of all electronic and print publishing rights. To submit, complete the form on the website with details of your book, including title, genre, length, a short description, whether have a completed manuscript you and why your book would be right for this publisher, along with a 1,500-word extract. The form will request a short bio also about yourself, information on any publishing/w riting history you may have and if applicable, your Authors have an option agent’s details. to choose a 50-50 profit share or more traditional model of advance plus 25% net. Website: www.rando mhousebooks.com/alib i
Win a Virago contra ct and £7,500 advance
The Virago/The Pool New Crime Writer Award is inviting entries from debut women crime writers. Virago, which has forefront of women’s been at the publishing since its foundation in 1973, has joined up with The Pool, a digital platform for women, to find an exceptional new female crime writer for The winner will be Virago. publishing contract awarded a Virago with advance. The winning a £7,500 writer will also get two hours of mentoring with author Jill Dawson. The competition is for debut writers. Writers who have previously self published may enter, but the book being entered must not previously have been published in any form. To enter, submit a proposal for a suspenseful , original, intelligent crime
or thriller novel consisting of a 5,000-word sample and a 500-word synopsis of the plot of the novel. Virago would hope that the prizewinning novel would be completed within a year of winning. As Virago is an imprint authors, the Virago/The for women Pool New Crime Writer Award is only open to women. Entry is free. submit only one entry.Writers may Double spaced the proposal and submit it by email. The closing date is 21 May. Details: email: viragoandthepool@lit tlebrown.c o.uk; website: www.virag o.co.uk
Get creative for Cymru
The 2017 Welsh Poetry Competition, which 22/03/2017 12:06 launched on St David’s independently funded, Day, 1 March, is international invites entries. in scope, and invites entries from poets There is a first prize anywhere in the world. of £500, a second prize of £250 and Entries may be on a third prize of £100. any subject and in There will also be seventeen any style. The maximum runners-up, and length is fifty specially commended lines. Each poem must entries. The judge be clearly typed in will be Kathy Miles. single sides of A4. The poet’s name must The competition, which not appear on the manuscript. is proudly entry form must accompany A completed each entry.
There is a £5 entry fee per poem entered by post, payable by cheques made out to The Welsh Poetry Competition. For online entries the fee is £6 per poem, payable by PayPal. The closing date is 18 June. Details: The Welsh Poetry 9 The Avenue, Pontypridd Competition, , CF27 4DF; email: info@welsh poetry.co.uk; website: www.welshpoetry.co.uk
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INTERVIEWS AND PROFILES Star interview: How WM subscriber Mary Gibson turned her local knowledge and memories into a saga success story • Explore the style and technique of Jojo Moyes • Poet, playwright and journalist George Gunn shares the routines of his writing day • Crime author Elizabeth Mundy picks her five favourite reads
THE ONLY MAGAZINE THAT GIVES YOU ALL THE WRITING NEWS YOU CAN USE: Opportunities to get published Submission calls for writing in every genre Advice from editors and publishers News and tips from the publishing industry Reader success stories …and much more 93
N OT E S F R O M T H E M A R G I N
Where is the mystery cash? After repeatedly chasing payment for a particular story, Lorraine Mace wonders why writers so often get the rough end of the money stick
A
few months back I mentioned that I was trying my hand at short fiction once again, so you can imagine my delight when I received an acceptance for a story I sent to a top Australian magazine (which will remain nameless for reasons which will soon become clear). The fee offered was more than enough to compensate for the time and effort I’d put into writing and polishing the piece, which in reality meant rewriting it until I couldn’t bear to look at it even one more time. With the acceptance email came the welcome news that payment would be processed on publication and I would receive the money in August. August came and went, as did September and October. At this stage I felt justified in sending the accounts department a gentle reminder that I would appreciate payment. In the end, I sent three – none of which were answered. My next move, at the end of November, was to copy in the editor. This email was not quite as polite as the earlier three. I pointed out that this was now the fourth time I had requested payment. The next day I received a response, minus any kind of apology, saying I needed to fill out a form because the payment would be made outside the country. I duly filled in said form, sent it off and waited – and waited some more. At time of 98
FEBRUARY 2019
writing this, I am still waiting, which brings me to the point of the column this month: why are writers so often treated badly when it comes to getting paid for their efforts? I have been writing for decades now and yet still receive the occasional request to write something without payment for the benefit of the exposure I’ll gain from having my work appearing in the publication. Hmm, really? Exactly who will benefit from me providing copy without payment? It’s not going to be me because if the publication can’t afford to pay then it means they don’t have a large enough readership to make the exposure worthwhile. If they have the readership, then they should pay their writers. I’ve discussed this with many of my writer friends and they all feel the way I do on the topic. Just imagine calling out a plumber and saying I’d like you to fix my boiler free of charge, but it’s worth your while because I’ll tell everyone how great you are. Or going into a supermarket and filling a trolley but not expecting to hand over any money for the goods? ‘What do you mean I have to pay? Why can’t I take my shopping home to show my neighbours yours is the best shop in town? It will be good publicity for you.’ If we take the idea one step further, why pay for anything at all? I have always wanted some ruby earrings. Why shouldn’t I simply walk into my local jewellery shop and take some?
I can picture the scene now as the police try to grasp my plea that I wasn’t shoplifting when I pocketed a pair as I would be providing exposure for the jeweller in exchange for goods. Crazy, isn’t it? Yet that is exactly what some publications do to writers. It makes me cross, especially publications preying on those who are just starting out and might believe the promise of exposure will lead to bigger and better things. My experience with the Australian magazine aside, I am really enjoying writing short fiction again and am delighted to say most magazines are honourable. One of them put out a call for short crime fiction. I’m thinking of basing a story around an Australian working in the accounts department of a major magazine. When horrible things happen to him, he turns to a writer, begging for help. The writer agrees to look into the weird events, but only if he is finally paid for work submitted ten months earlier. The payment arrives in his account and the bad things stop. The accounts’ department worker is eternally grateful and the writer uses his brilliant imagination on the next person who is withholding payment. Okay, the idea is too far-fetched and wouldn’t work. After all, why would the accounts’ guy turn to a writer? Major plot hole there, but at least I got some satisfaction out of thinking it up. Which, by the look of it, is about all I’m going to get from my association with the Australian magazine.