Q Magazine - Autumn 2022

EDITOR

Welcome to the first edition of Q Magazine - we’re excited to launch with a host of informative and inspiring content!

Our first edition showcases USA Today’s Bestselling author, Samantha Lee Howe and her novel, The Stranger in Our Bed, which is the first Q Scripts project to make it to the big screen! The team behind Q read the screenplay and pushed it forward with the production company, Buffalo Dragon, who filmed in 2020 and the film released in the UK in early September 2022. A concept to completion success story!

Tony Schumacher, the writer of BBC’s hit drama series, The Responder, reminds us that we should never give up on our dreams. Humble and inspirational, Schumacher teaches us that there is always a way forward and gives us an insight into his writing process.

Rob Fennah was trusted with the rights to Helen Forrester’s Twopence to Cross the Mersey on her death in recognition of his devotion and success to her beloved book. He convinced her that Twopence would make an excellent play, and she wholeheartedly agreed once she saw his adaptation!

Q Magazine is a benefit of being a Q member, and we hope to provide our members with an interesting quarterly read... so kick back and enjoy!

Until next time, Diane DIANE TREMARCO A C Brown, choux,

TALKING TO TONY SCHUMACHER

Asa boy, Tony would dream of being a writer, but school wasn’t for him. “When the teacher talked, it was like the sound of the teacher in Charlie Brown, totally muffled. Nothing made sense.” Tony said. “People laugh at me when I say I was thick, but I really was.” An unclassified in English compounded his belief, although he did get a GCSE in metal work and a CSE in geography.

“My mum and dad desperately wanted me to go back and resit my exams and eventually, I agreed that if I didn’t get a job before school started in September, I would. I did. Well, I did for two days. I was there Monday and Tuesday and on Tuesday night, my mate called to say that there was a roofing job going, so I took it.”

Tony was a dreadful roofer and ended up just doing general labouring jobs. His boss, Dave, must have seen something no one else did and set Tony a daily challenge. He would ask him a question on a topic of the day and one that required him to research the answer. Tony would have to ask his mum, listen to the news or buy a newspaper to give Dave the answer the following day. If he failed, he would be punched in the arm – something that simply wouldn’t be accepted today. For some reason, it motivated Tony and made him take an interest in the world around him.

Various jobs ensued, and Tony drifted in and out of one after the other. He signed up to work on the cruise ships through a girlfriend at the time, often away for months at a time. On his return, he would look for a temporary job before returning for the next cruise. On one such home visit, after a trip to the Med, he was browsing The Echo one Thursday night and applied for a couple of jobs. One for an underground drainage company which

A FORMER POLICEMAN LOST EVERYTHING AND WAS FORCED TO SLEEP ROUGH IN HIS CAR. THE ONLY REASON HE DIDN’T TAKE HIS OWN LIFE WAS THAT HE COULDN’T BEAR THE THOUGHT OF HIS DOG, BOO, BEING PUT INTO KENNELS OR WORSE. HE WAS ABOUT AS LOW AS A MAN COULD BE. THAT MAN WAS TONY SCHUMACHER, THE WRITER OF THE BBC HIT TV SERIES, THE RESPONDER.

he took and hated, and one for the police that gave him an escape from the first!

“I can remember the first day of police training, there was about thirty of us in the room and we were all asked to say why we had joined the police. The lads were all saying that they had always wanted to be a copper, ever since being a kid. I was thinking about what I was going to say because I had never thought about it before! It came to my turn, and I just said I wanted to be a policeman so I could pay the mortgage. Everyone laughed and I got the job. The best of it is, that the lowly met alwork GCSE and geography CSE was enough to get me in as two ‘O’ levels were the minimum qualification.”

At first, Tony loved his job. It was funny, dark, fast-moving and exciting, everything he hoped it would be. But as time went on, it got heavy. The constant deaths -and the sights he would witness day in, and day out got too much, and he thought he was having a breakdown. In hindsight, he was more likely suffering from PTSD.

He subsequently lost his job, marriage and home and ended up sleeping in his car. He was at rock bottom and had nothing left to lose, so after a friend helped him sort a place to live, he wrote a

TV script, something he knew nothing about. “I looked up scriptwriting on YouTube and went from there,” Tony said. “I picture a film in my head and then transfer it to paper. I don’t know if it is right or wrong, but I put every bit of detail down I can. Today, I am writing a scene that involves an Everton FC mug. The mug has a chip in it. It isn’t a white chip, not even a grey chip. This chip is brown because of the amount of tea it has had in it. That is the amount of detail I go into when I am writing.”

The Responder is a gripping police drama about Chris Carson, a serving police officer on the edge played by Martin Freeman. Morally compromised, Chris tries to keep it together when all aspects of his life are falling apart. The relentless pressures of the job turned him into a sleep-deprived victim of his daily routine.

I asked Tony if Chris was loosely based on him self. “Loosely. The mental aspect of Chris was definitely me. I was so busy trying to help every one else, I neglected myself and my family. I wasn’t corrupt though. I got that storyline from reading a newspaper a few years after leaving the force. Bang in the middle of the front page was a photo of a bobby I served with that was up on a drug charge. It got me thinking.”

The complexity of Chris’ character came across so well on screen. As a viewer, you are invested in his turmoil. It is so well written and so powerfully acted.

Tony is also an accomplished author. His first three novels have been published by HarperCol lins in the USA and are available on Amazon.

ISBN: 9780062386021

Imprint: William Morrow

Pages: 432 pages

In this highly imaginative thriller debut in the vein of W.E.B. Griffin and Philip Kerr, set in German-occupied London at the close of World War II, a hardened, dispirited British detective jeopardizes his own life to save someone else and achieve the impossible; some kind of redemption.

ISBN: 9780062439192

Imprint: William Morrow

Pages: 464 pages

In this alternate history thriller set in the years after World War II—the riveting sequel to The Darkest Hour—London detective John Rossett joins forces with his Nazi boss to save the com mander’s kidnapped daughter as the Germans race to make the first atomic bomb.

ISBN: 9780062499899

Imprint: WmMorrowPB

Pages: 400 pages

In this next engrossing thriller in the John Rossett series set in post-WWII England, the detective confronts a rogue SS officer hell-bent on murder as the German occupation is about to crumble around them.

Itseems that nowadays, writing a commercial has never been in more demand. Advertisements play before most YouTube videos, and they’re all over social media platforms like Facebook, Twitter, Instagram, Pinterest and TikTok. The need for this kind of work, especially for people who can create something which keeps people watch ing, is ever-growing in this technological era.

We spoke with Claire Robinson from Weekend Candy about writing TV commercials; “as a writer, you usually start as part of a creative team working alongside an Art Director. The process starts with a creative brief delivered by the client services crew looking after the client’s account.”

Most TV advertisements are brief - for this reason, TV commercial scripts are structured to channel information concisely. “As most TV ads are 30/60 seconds, it’s a tough job keeping the copy short and en pointe. It takes a lot of rewrites and edits to make sure it’s sharp from the opening line.”

It’s vital to know exactly what your marketing video’s call to action is before you even start drafting. What does the company want people to do after they see the television commercial? For a small business, maybe your goal is just to raise awareness of the brand or give potential consumers the company’s contact information (for instance, a phone number or web URL). If you’re working with a large and well-known corporation, your focus may be on introducing a new tagline.

A good storyline has a beginning, a middle, and an end with tension and resolution (I can feel the GCSE English creeping back in). Commercials that use the principles of good storytelling will immediately capture the audience’s attention and evoke some sort of emotional reaction. Claire

explains, “in the creative brief there should be the sharp strategic thinking you need as a writer to lead you down the right creative alley, as well as something called a ‘proposi tion’. The proposition is a single-minded ‘promise’ that the creative work must communicate to the audience through the TV advert, and it gives you a solid springboard to launch from when you start coming up with ideas.”

It’s easy to think that a great video is always the one with the best entertainment value; for instance, a hilarious video ad with a catchy jingle, but if it’s not the right tone for the brand, it still may not succeed.

When making an advert, whether it’s an online ad or a TV commercial, you need to keep the brand’s tone in mind. “Stage two is where you start coming up with creative ideas - it could be a copy line, a visual image, a piece of music that feels like it’s on target and you play around with it; discuss ing it between you to see if it feels right. Once you have an idea that feels robust and interesting, the art director will ‘scamp up’ (which is ad talk for draw roughly) a storyboard and the writer will start to put together a script, including the VO (VoiceOver) copy and any dialogue spoken by the actors.”

Piecing this all together is both a challenging and rewarding process. Claire shares how the TV commercials get signed off, “once you have a rough script (timed by spoken out loud and recorded on a stopwatch) and a rough storyboard, as a creative team you present this back to the client services team who briefed you. They access the work to see whether a) it meets the brief, b) it’s disruptive and interesting and will cut through the clutter and c) whether it’s achievable in the client’s time scales and the budget. If it’s all ok, it goes on to be presented to the client.”

HOLD YOUR HORSES

The origins of some common phrases

At the end of your tether

Get down to brass tacks

In old-fashioned drapers’ shops, brass tacks would be driven into the counter at evenly spaced distances to serve as handy guides for measuring lengths of cloth. From this comes the expression getting down to brass tacks, meaning determining exactly what is required, or in other words, getting down to the nitty-gritty.

Barking up the wrong tree

If you’re wasting energy on something to no avail, concentrating on the wrong aspect of something or accusing the wrong person of some misdemeanour, you might be told that you are barking up the wrong tree. The expression comes from the North American practice of using dogs to hunt racoons. This was done after dark and dogs were used to follow the scent of the unfortunate racoon and bark at the foot of the tree into which it had escaped. Understandably in these conditions, the dogs would sometimes make a mistake and quite literally bark up the wrong tree, no doubt to the relief of the lucky racoon who would ‘live to fight another day’

If you’re at the end of your tether, you’re exasperated and frustrated. The expression comes from animals being tied with a rope or ‘tether’ to stop them from wandering off. They could graze as far as their tether allowed them to move but once they reached the end of their tether they could go no further - no doubt feeling very frustrated by this if there was better grazing within sight.

Catch-22

A catch-22 situation is a paradox or deadlock in which you can’t win. It’s a good example of a phrase coined in literature which then enters the language because it sums something up succinctly. Not that there aren’t other phrases that do the same job - you might also say that you’re damned if you do and damned if you don’t or you might talk of heads I win, tails you lose.

Catch red-handed

If you catch someone red-handed you catch them in the act of committing a crime, figuratively if not literally before they have had time to wash the blood off their hands. Two similar legal terms preceded this expression -red hand and with red hand - but it is Walter Scott who is attributed with first using the expression in the form we use today.

Freelance

Anyone who works freelance today does so as an independent self-employed worker. The term was coined by Sir Walter Scott in his medieval romance Ivanhoe, published in 1820. The ‘freelance’ in this context was a medieval warrior who was free to offer his services to whoever was prepared to pay him, rather than having feudal loyalty to a particular lord - in other words a medieval mercenary.

Hold your horses

Meaning be patient or wait a moment the allusion is clear - horses that are skittish and ready to run must be held back and not allowed to dash off without a thought for safety.

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USA Today bestselling author Samantha Lee Howe began her professional writing career in 2007 and had been working as a freelance writer for small, medium and large publishers ever since.

Samantha’s breakaway debut psychological thriller, The Stranger In Our Bed, was released in February 2020 with Harper Collins imprint, One More Chapter. The book rapidly became a USA Today bestseller.

In August 2020, Samantha signed a deal with production company Buffalo Dragon for the option and screenplay for The Stranger in Our Bed. The feature film went into production in November 2020 and is currently available on digital platforms.

A former high school English and Drama teacher, Samantha, has a BA (Hons) in English and Writing for Performance, an MA in Creative Writing and a PGCE in English. Samantha lives in South Yorkshire with her husband David and their two cats, Leeloo and Skye. She is the proud mother of a lovely daughter called Linzi.

When did you start writing?

I started writing when I was aged 11. I was a bit obsessed with watching Dracula/Christopher Lee late at night on TV with my sister. I would pen short stories which were fan fiction, although we didn’t have a name for it back then. I started writing in a professional capacity from 2007

Is that where your fascination for thrillers and fantasies came from?

Definitely, my mother was a prolific reader, and

she was always buying books or at the library. There were always stacks and books hanging around the house that my sister Adele and I would pick up. The very first book to inspire me was John Fowles’ The Collector, which was amongst the books my mum had that made me think, yeah! I want to do that! I want to become a writer!

You then went on to become an English teacher and a drama teacher, is that correct?

I did, yes. I got an MA while still teaching; I was head of drama by that point at the school I was working at.

Which do you prefer, English or drama?

It’s a tough one as we ran our little drama school along with a friend of mine. We would put on shows for charity, which I loved. I’m also a classical singer, so I taught vocals too.

But of course, I have a great love of English, being a writer - sometimes I prefer to do a bit more drama, sometimes I like to do a bit more English.

Out of your 25 novels, why do you think The Stranger in Our Bed was the first to make it to the big screen?

I think Stranger has something in it that I think most people can connect to. Many people have been in toxic relationships or have friends in toxic relationships. When I was writing the book, it was about approaching the subject with a great deal of sensitivity. I have been in a couple of bad relationships; a previous marriage which was very abusive, more emotionally than physically and growing up in a house in Plymouth, my mother was a drunk and an abuser.

So it was a subject matter that had to be speaking the truth, if you know what I mean? Not everyone loves the book, to be fair. Those people that

have been in that situation can relate to Charlotte the lead; because she’s in this manipulative relationship with her husband, who always has a way of twisting things back on her, and that’s what abusers do. They make you feel like you are always wrong, and you question everything. That makes it so very, very hard to get out of a toxic relationship and see it for what it really is. Even once you do see it, it’s still not that easy to leave. I feel the story genuinely connects with people on an emotional level.

You have written a few novels under the pseudonym Sam Stone; why did you write under a pseudonym, and what made you choose Sam Stone?

It just seemed to have a nice ring to it. Also, when I was writing horror and fantasy, it wasn’t always attractive to be a female writer.

I wanted it to be ambiguous, which is what many writers like JK Rowling did. We didn’t know if she was a female or male. Men dominated the horror and fantasy industries, and when I first started writing, I had many male writers say to me, “Oh, you write horror stories? I suppose that’s about romance”? No. I wrote proper horror, and you know why? Because I like horror!

Your horror story, The White Witches of Devils End, was a spin-off from Doctor Who and was released on DVD. How did you find the adaptation to the big screen versus the adaptation to the small screen?

Well, writing The Whites Witches of Devils End was very much a project of love for Realtime Pictures, who made it. They are a micro-production company, so there was no actual budget. They did this very much as a labour of love. It was magical to see my words up there on the big screen for the

“THE INSPIRATION CAME FROM A FRIEND OF MINE. SHE TOLD ME ABOUT A FRIEND OF HERS - A GIRL HAVING AN AFFAIR. SHE FELL IN LOVE WITH SOMEBODY WHO CONVINCED HER TO LEAVE HER HUSBAND AND WHEN SHE TURNED UP AT THE MEETING POINT, HE DISAPPEARED! I GOT GOOSEBUMPS WHEN SHE WAS TELLING ME ABOUT IT.”

first time.

The experience of working with Buffalo Dragon and, in particular, Terri was completely different.

It was a far more professional experience because we were working very much in a collaborative way. I’m very aware that adapting a piece of fiction to a different media has to change in some way. It wasn’t a problem for me because my degree in English was in script writing and performance, and I specialised in screen. That didn’t faze me, so I loved that collaboration as it gave you a different insight into what you can do.

Do you envisage characters in your mind? For example, did you see Charlotte as a brunette or blonde? Do you have an image in your head? I saw her as a typically attractive woman who isn’t being taken seriously for the educated and intelli gent woman she is.

And was she blond in the final edit?

In the film, she was more of a strawberry blonde with dropped-out curls that looked so glamorous. When I heard they had cast Emily and saw her hair, I knew it was Charlotte. She was everything. Beautiful with an almost innocent quality that Emily has.

How long, on average, does it take for you to write a novel?

Anything between 6 weeks and three months.

Is that quick?

Yes. The first draft will be around six weeks, so I

would put it aside for maybe a week if I’m not on a massive deadline. I will re-read it and re-edit. I usually let my husband see it first - he reads it and gives me feedback. At that point, I’m quaking in my boots, convinced it’s utter rubbish, and then he comes back and reassures me that it’s not.

I then give it to my agent, which makes me more anxious, thinking she’s going to hate it, but she never does; she always loves it!

You’ve written 25 novels already. Do you ever run out of ideas? Where do you find your inspi ration?

Well, that’s a difficult one because it comes from various places…

When I was writing Stranger, my inspiration came from a friend. She told me about a friend of hers - a girl having an affair. She fell in love with somebody who convinced her to leave her husband, and when she turned up at the meeting point, he disappeared! I got goosebumps when she was telling me about it.

It can be the opening line of a book, and I know where it will go. Other times I have very vivid dreams. Some of my vampire books were heavily based upon dreams I had. I woke up from them and thought, that’s what that book is about! I then build on that dream in the space of a night. Other times it’s just conversations or watching something.

What’s next for Samantha Lee Howe?

I’m currently working on a pilot for the House of Killers, which is my trilogy. I’m hoping it will

become a TV series, so I’m now doing the screen play pilot. I’m also in the middle of writing a new book. I watched a lot of the Amber Heard and Jonny Depp trial, which made me want to write a book about liars! So, the book is about serial lying! Somebody who lives another life by deceiving everyone. The sort of character in the Talented Mr Ripley or the Great Gatsby. There is so much more to come.

The Stranger in Our Bed is available on the fol lowing digital platforms: Sky, iTunes, Amazon, Google, Xbox, Virgin Media and Rakuten

Above: Samantha Lee Howe on set 4 images: Stills from filming

THE ALTERNATIVE TO HELEN FORRESTER’S BOOKS

Theysay you make your own luck in this life, which was very much the case for Rob Fennah.

Aged just 15, he joined the band Bust er, and by 18, he had received his first gold record for songwriting. He went on to form Alternative Radio with his brother Alan, which was the step ping stone for his success in the theatre.

A rather long wait for a radio interview to promote their new album proved to be the catalyst for a new song when the secretary offered him ‘Twopence to Cross the Mersey’ by Helen Forrester to pass away the time. He took the book to be polite but became engrossed, reading the sequel ‘Liverpool Miss’ too. He came across a line describing her dad as a ‘butterfly, whose wings had become useless in the rain’. Butterfly in the Rain became his next song.

Whilst enjoying a drink with an old friend Arthur Johnson, the marketing editor for the Liverpool Echo, in the early nineties, Johnson mentioned he had been charged with finding entertainment for a literary lunch for an author. That author was

Helen Forrester.

Johnson was already aware of ‘Butterfly in the Rain’, and as soon as he knew the book inspired the title, he asked them to play at the event.

Helen adored the song and asked permission to use the track whilst promoting her book around the world, they agreed and started talking about theatre.

Rob and Alan had previous experience in theatre, penning the music for ‘First Night’, written by Mark Thomas, a highly acclaimed musical pre miering at the Glenda Jackson Theatre. He asked Helen if she had ever thought of ‘Twopence to Cross the Mersey’ becoming a stage show. She told him there was an adaptation done for schools that she hated, so she was dubious about it as she told him, “Nobody ever gets it right”!

The conversation continued, and sensing his love for her writing, she offered him a two-year option to develop a script and if, and only if she liked it, she would go ahead. Excited to start, Rob tried to

get a professional script writer involved, however, due to lack of funds, nobody was interested. He did think of giving up but decided to have a go himself.

Although Rob hadn’t written a script for theatre before, he did write for television companies, including Granada, Men and Motors and the Manchester United channel. He wanted to do justice to Helen’s books so he knew he had to incorporate both ‘Twopence’ and ‘Liverpool Miss’, the sequel to get the full story. He began reading the books over and over.

He communicated with Helen continuously by phone and letter. She was an integral part of the script writing, not physically, but by expanding on certain characters, it gave Rob the background in formation required. He tells us that “you can’t just copy the words from the book and put it on stage it just doesn’t work like that. It doesn’t translate. With a play, you have two hours maximum. You must find the main thread of the story, the main part of the tale you want to tell, so that the book writer doesn’t feel like any bits are missing.

That’s quite tricky as you need to keep it enter taining, with light moments as well as darker mo ments because it’s quite a heavy read. Fortunately, Helen allowed me to expand on characters that don’t feature too heavily in the book and together we tried to bring them to life. We had a counter measure to the serious stuff, with a clash of culture and with that, you do get a lot of fun”

Rob was concerned about writing the script. ‘Twopence’, being a great book, was both a help and a hindrance. He would be open to major criticism if he didn’t interpret it properly. The audience expects to see the books come to life in the way that they visualise the story in their head.

He needn’t have worried. Helen loved it!

The next step: getting the show on stage. So many writers submit their work, only to have it shelved as funding is hard to come by. Not many want to take a risk in the industry, so the brothers invested themselves, along with a loan from a generous uncle.

They also published the work themselves. A lesson they learnt from being stung at a young age. Rob tells us he still, to this day, needs to ask permis sion from publishers to use his own music. He would receive a sum in advance but nothing like the amount the songs made. Rob and Alan set up Pulse Records as a recording/publishing company in the early eighties, so that they would have control of all their work. The successful company is still going strong today.

With local newspapers on their side, publicity wasn’t a problem. After all, the Liverpool Echo had introduced him to Helen. They had a talented director, Gareth Tudor Price and the amazing Lynn McDermott, Co-Producer, along with Bill Elms, creating the perfect team. They were ready and their first production was at the Empire in 1994. It ran for two weeks and saw 32,000 pack the auditorium, making it a huge success.

Normal life resumed but constant requests to rerun the show prompted the 2005 production, again, it was critically acclaimed but sadly, they weren’t making any money. Even though it grossed a couple of million, they simply recouped their outlay with a pat on the back. A tour was needed. Realising that a musical production wasn’t viable to take on the road led Rob to rewrite the work into a play.

In 2016 the new play toured around 8 theatres; another resounding success is when Rob started working on ‘By the Waters of Liverpool’ with Hel en, her third book. The idea was to run the show bi-annually. Rob finished the script in 2019, again showing at the Empire. Off the back of its success, they put together a 17-theatre tour the following year, only three of which were shown before the pandemic hit. They were forced to close.

HELEN FORRESTER

Helen Forester was born in Hoylake, Cheshire in 1919 and was the eldest of seven children. She was the author of four phenomenally successful volumes of autobiography and many equally popular novels. Helen’s memoirs recount the years of hardship that she and her family suffered in Depression-era Liverpool, the city that features prominently throughout her work.

In 1950, Helen married her husband, Avadh Bhatia, and moved to India, far away from her Merseyside home. They eventually settled in Alberta, Canada where she lived for almost sixty years. Helen was awarded an honorary doctorate by the University of Liverpool in 1988 and by the University of Alberta in 1993.

Helen died in 2011 aged ninety-two and her writing continues to inspire readers around the world.

Rob realised after the time out that starting back with By the Waters of Liverpool was foolish, so will restart the cycle with Twopence on September 6th at the Floral Pavilion, travelling across the country going to places such as Croydon and Cov entry and then By the Waters of Liverpool will start show ing in March allowing people to watch both in the correct sequence.

Rob tells us the importance of both productions is prove nance, he has a stack of letters and facts from Helen, he spoke with her often before her death in 2011 at the age of 92, everything he wrote Helen was heavily involved, so if people want to see a production as close to Helen writing it herself, this is the one to watch. Rob has the sole rights and tells us Helen entrusted him with her work, nobody else, something he is fiercely proud of, both shows have her ‘prints’ all over them.

He recalls seeing Caitlin Moran holding up Twopence on Sky Arts about 3 years ago saying it was the most important book she had ever read, had it not been for the welfare sys tem Caitlan would have been in the same position as Helen Forrester which politized him immediately, “It’s a serious historical document, it’s part of the national curriculum as well because of its importance, it stays with you, there’s just something about it. And now it’s more relevant than ever, thankfully we have a welfare system to pick up the pieces but back then we didn’t have any.”

He still misses Helen to this day, describing her as a feisty woman who explained to everyone that spoke of her ‘novel’ that it was an autobiography, a portrait of her life, a wonder ful woman growing up in abject poverty in the 1930’s who ended up being a truly remarkable author.

DO I NEED A LITERARY AGENT?

LITERARY AGENT - (NOUN)

ALiterary

Agent is not technically required to get your book published; however, it will be extremely difficult to ensure your book is seen by the best industry editor, publisher, filmmaker etc., for your genre. If you have ever tried to contact a publishing house to have your piece read, you will understand just how difficult it is.

The problem starts once you have created your masterpiece. You are as proud as punch and cannot wait for the world to read it. You pass it out to friends and family for feedback. Glorious review after glorious review hits your receptive ears, and life is good. Surely a publishing deal is around the corner, and worldwide success will follow?

The reality is they are being kind, over-enthusiastic even; after all, they love you and want to be positive and not hurt your feelings.

Enter stage left, the Literary Agent. Someone who can look at your work objectively and make the changes needed to make your work more commercially acceptable. They have their fingers on the pulse of trends in the book publishing marketplace so can guide you and help you tailor your work before it reaches the Editor. The best agents will represent you throughout the sales process and during the contract negotiations with the publisher. They will work hard for you because the more money you make, the more they make. It is worth noting that they are not always successful and do not work for all types of writers.

So how do you choose a Literary Agent? You will need to do your research: What do they specialise in? Who have they represented? How many success stories do they have?

It is by no means easy, and you will most likely face many rejections. Take heart that JK Rowling was rejected over a dozen times before Bloomsbury agreed to publish Harry Potter. Even then, she was advised to get a day job! Don’t give up!

Q MAGAZINE HAS COMPILED A LIST OF THEIR TOP 10 AGENTS IN THE UK TODAY:

SARAH HORNSLEY - The Bent Agency www.thebentagency.com

Genres: Fiction, Commercial Fiction, Crime Fiction, Fantasy, Historical Fiction, Horror, Literary Fiction, Science Fiction, Thriller, Young Adult, Nonfiction, Cookbook, Memoir

SIMON TREWIN - Simon Trewin Literary & Media Rights Agency www.simontrewin.co.uk

Genres: Fiction, Fantasy, Graphic Novel, Historical Fiction, Literary Fiction, Poetry, Thriller, Children’s Book

KARI STUART - Curtis Brown UK www.curtisbrown.co.uk

Genres: Fiction, Mystery, Thriller, Nonfiction, Business Book, Cookbook, Memoir, SelfHelp, Spirituality, Sports

GORDON WISE - Curtis Brown UK www.curtisbrown.co.uk

Genres: Fiction, Crime Fiction, Humor, Literary Fiction, Thriller, Nonfiction, Memoir, Narrative Nonfiction

FELICITY BLUNT - Curtis Brown UK www.curtisbrown.co.uk Genres: Fiction, Crime Fiction, Historical Fiction, Literary Fiction, Science Fiction, Thriller, Young Adult

CAROLINE WALSH - David Higham Literary Agency www.davidhigham.co.uk

Genres: Fiction, Graphic Novel, Nonfiction, Children’s Book, Middle Grade, Picture Book, Diverse Fiction, BIPOC, LGBTQ

OLIVER MUNSON - A.M. Heath & Co. Ltd amheath.com

Genres: Fiction, Commercial Fiction, Crime Fiction, Fantasy, Science Fiction, Thriller, Nonfiction, Narrative Nonfiction, Sports

HELLIE OGDEN - Janklow & Nesbit UK www.janklowandnesbit.co.uk

Genres: Fiction, Commercial Fiction, Crime Fiction, Historical Fiction, Literary Fiction, Thriller, Young Adult, Nonfiction, Cookbook, Narrative Nonfiction, Children’s Book, Feminism

MADELEINE MILBURN - Madeleine Milburn Literary madeleinemilburn.com

Genres: Fiction, Action & Adventure, Commercial Fiction, Crime Fiction, Fantasy, Historical Fiction, Horror, Literary Fiction, Mystery, New Adult, Romance, Science Fiction, Thriller, Women’s Fiction, Young Adult, Nonfiction, Memoir, Children’s Book, Middle Grade, Diverse Fiction, LGBTQ

SOPHIE HICKS - Sophie Hicks Agency www.sophiehicksagency.com

Genres: Fiction, Commercial Fiction, Fantasy, Literary Fiction, Mystery, Romance, Science Fiction, Thriller, Young Adult, Children’s Book, Middle Grade

A PERSON WHOSE JOB IS TO HELP WRITERS SELL THEIR BOOKS TO COMPANIES SO THEY CAN BE PUBLISHED.

Lisaprefers to focus her writing on her own personal experiences, being able to link her “very intimate self with every body else’s. I don’t believe in the myth of separation, I believe there’s a unity and this is the unity that I’m looking for.”

It is important for her to force herself to just live her life, without detailing every little thing that happens. The writing comes afterwards. She says that she takes notes, but will wait until the right moment to write the story.

“Like a tree, you’re blossoming, you have green fruit, then you have a fruit. The writing is when the fruit is falling off the tree, but I’m not decid

ing that this is the day that the fruit is falling off the tree. When I’m full of links that I’ve made, now I’ve got a story.”

Getting into Filmmaking

After graduating, at the age of 16, Lisa had to wait two years before being able to work.

“In the beginning, I thought I would be an actress and I was proposed many roles, but my parents would say no all the time. And because I wasn’t 18, I couldn’t work without their permis sion.”

So she went to University and studied finance. “I had a major in finance. And everybody told me:

why don’t you go into the stock exchange, which I did for a year. At the end of one year, I was like, this is not my area. I can’t be in an office. I can’t have a boss. I can’t obey – maybe that’s my major problem.”

Everybody in the finance world was looking forward to long weekends, and “I wanted my whole life to be freedom and decided to quit. My best friend was working on set. So, I began to do coffees and garbage and things on set. I had less money, but I was happier.”

She’d found her tribe and after that, she knew where she belonged.

Writing for A Sitcom

After making some films, Lisa “accepted a job, writing some sitcom. It was a really shitty sitcom, but super successful. And it’s the best thing I’ve ever made in my entire career because I learned how to be efficient, how to have a boss, how to write in a very difficult way and to obey someone.”

She was earning money while writing and found it very humbling because “you become just hands that write. I learned a certain efficiency and a certain humility that I was lacking before. This was my real school of writing.”

How She Writes

Lisa used to plan her writing, focusing on the structure and the characters, and then she’d add the dialogue. But “now I’m more intuitive and I feel the story inside me.

I just write, and because I’m structured in the way I write, I don’t need to write the structure. I know what it’s lacking and I’m improving that. It’s very organic, the way I write now.”

She went on to say that she loves collaboration but finds it difficult to find the right collaborators at times. “Sometimes, I’m trying to find a collabora tor, and by the time I find them I’ve finished the script.

I’d rather write with someone because I like to be fed with somebody else’s brain and it’s much more nurturing.”

From Writing to Directing

Her films are about “what’s love? How do men and women become good lovers, good people to each other? Why are we fighting? And what it is to be a

mom, and a woman when you’re not a wife, when you’re not a mom? Femme means woman and wife. It’s the same word.

So, it’s very difficult to know the essence of being a woman when you’re not a wife and you’re not a mom and this is what I’m always trying to under stand. And how women can connect with men.”

She had a moment, after her children were born (and growing up), where she’d “rather be a mother than a liberated woman who thinks she’s an artist.

She didn’t want to be a failure as a mom and con tinually wanted to represent, in her movies, that “there’s no such thing as a bad mother. Women have so much pressure. And when you have a clear intention: I want to be the best mom I can be. And I want to write that script. Then life makes it happen.”

Lisa was passionate about making films, and after going to Los Angeles and doing a screenwriting course with Robert McKee she “became obsessed with writing a good script. He said something that really changed my life: a good script is a script that you can’t take anything away from. You always feel that you have to fill it in, but it’s not true. As much as you can, empty it out and then it’s going to be good.”

After that she wrote and co-directed her film, 15 août, “and it got picked up immediately” which was incredible as her “first movie was such a fail ure, and it broke my heart.

I’d felt ashamed walking in the streets. I thought everybody was shaming me because I thought everybody knew. I decided that the next one is going to be a hit.”

LOL From France to America

After writing and directing a few more films, she released LOL in France. And then about four years later, after planning to sell the script for the Ameri can version, she was asked to direct it too.

“I didn’t plan on that, but it was my dream. And I had the dream cast because Miley Cyrus and Demi Moore were incredible and I loved doing the same thing, but it wasn’t the same. I loved casting new people and to see the difference between the American and the French culture.

The big difference is what is it to be a good parent? What is appropriate in America and what is not appropriate?”

Casting

When casting, Lisa doesn’t base her decision on whether someone is “an actor or a non-actor. I choose them as the character they are in real life. I think that a good director can make anybody a good actor because acting is just being yourself and being natural.

“I’m never playing a role of I’m the director and you’re going to obey me. We have this project and we’re going to try to make it together. It’s a collab oration. I love having people who’ve never had an experience on screen, it’s giving them something that they will always remember.”

BOOK SIGNINGS AT

BOB

PETER

Freya

Brian

Dan

Susannah

Dan there is a to can generally get it’s not unusual be at 4:30pm and be by the next morning. Books can be over ral and maybe

RELIGIOUSLY WRITING

Fromwriting adventure stories as a child - to teaching art in secondary schools, the popular and prolific Sarah Sheridan has burst into the world of writing, fully realising her potential as a crime fiction writer… and to be frank, thank God!

A shy child often cannot express what they truly want; Sheridan found herself saying she wanted to be a teacher when asked what career path she was to take. Even though at home, she would often staple bits of paper together to create a book - and write short stories and adventure tales for her family, Sheridan found herself studying for a Masters’ degree in Eighteenth-Century French and English art from the Courtauld Institute of Art - before teaching art in secondary schools for thirteen years. “As an adult, it took a while to fully realise what genre I liked writing in, so I started with children’s books - but then I had a few ideas for mystery and thriller plots, and I haven’t looked back since. Now, I love the challenge of writing crime fiction”.

Sheridan researched the effect of secrecy on marginalised people during her PhD, specifically the biological children of Roman Catholic priests. She has been featured on various news programmes for the BBC and other media outlets worlwide. It was this sense of secrecy and silencing that became the inspiration for her first crime novel, The Convent. “With my first mystery book – The Convent – I knew the crux of the plot in my head before I

started writing it, but I let the characters take shape along the way. I think I’m most comfortable working like this, and all the other books have followed similar paths. I generally know the overarching plot and ending before I start writing. Still, I like to develop the characters and subplots along the way because surprising twists and turns seem to happen...”

Themes of manipulation and control are found throughout Sheridan’s book The Covenant. She admits that it is due to her work as an art teacher in a religious sect (although some people would refer to it as a cult). Combine this with influences from the likes of Agatha Christie, PD James, Colin Dexter, Ruth Rendell and Sheridan’s personal favourite, CJ Sansom; it is no shock that her books are as thrilling and gripping as they are. “I’d love to chat with him about how he constructs his novels! The intricate way he weaves his plots together with character development has always blown me away. I’m very partial to non-fiction too; I can’t get enough historical biographies by Claire Tomalin and Peter Ackroyd”.

A typical day in the life of Sarah Sheridan begins with taking the children to school, before settling down to work between 9:30 am and 3:00 pm. During holidays, working times become a lot more haphazard, so time to be creative during the day is sometimes not an option. Squeezing the odd hour in here and there or writing of an evening is usually what Sheridan will do – accompanied by copious amounts of chocolate.

Whilst cocoa may be a saviour for Sheridan; it doesn’t solve all her problems… one most writers will be familiar with - writer’s block: “when I was writing The Convent, we ended up moving house when I was halfway through the manuscript. Maybe it was due to the change of environment, but I found it very difficult to get back into writing the story again. I used to sit in front of my laptop, determined to write, only to have my mind go blank, which was very frustrating”.

Writer’s block is not the only thing that can sway your concentration; a side order of imposter syndrome coupled with a smidge of doubt is

sometimes on the menu, too; “I’ve experienced the swings that go from thinking I’ve written something pretty good to then doubting that anything on the page has any value whatsoever. I’ve come to realise that this is probably normal, and not to worry about it too much”. However, there’s nothing like a great review or a tweet from a reader to boost your confidence: “It’s very humbling and amazing to have a group of readers who enjoy the fiction you produce, and I’m hugely grateful to them.”

Characters such as Sister Veronica contain traits of real people that have captured Sheridan’s attention over the years. Still they’re mainly fictitious, “for example, the headmistress of one of the primary schools I attended was a nun who had a very strong personality and was a bit of a rebel in her own way. The main character – Sister Veronica - in my books The Convent, The Disciple, and The Tormented, was definitely influenced by her way of thinking.”

Sheridan’s next title – A Perfect Family – will be in your favourite bookstores on 22nd August 2022. “It’s a psychological thriller, which starts with the worrying discovery of six hanging bodies – all members of the same family. As the layers are peeled back, the reader is taken on a rollercoaster of a ride, discovering just how imperfect the seeming idyllic family – the Bryant’s are”.

“I have another book – The Ghostwriter – coming out in December. It’s also a psychological thriller that explores the terrifying things that can happen when a writer becomes entangled with the criminal subjects they’re working for. And then a new mystery book is coming out next year”.

Hand-on-heart, we cannot wait for these novels to come out. CONVENT : 234 : Bloodhound 978-1913942205

“I LIKE TO DEVELOP THE CHARACTERS AND SUB PLOTS ALONG THE WAY, BECAUSE THEN SURPRISING TWISTS AND TURNS SEEM TO HAPPEN”

ANDREW CARR AUTHOR

GOLDEN TIME - THE PROCESS

23RD AUGUST 1947.  HAVING ESCAPED THE HORRORS OF THE SECOND WORLD WAR, FRENCH REFUGEE CÉLESTE LELOUX AND HER SON LOUIS (LOU-EE), ARRIVE BY SHIP ON THE BANKS OF THE HUDSON RIVER, NEW YORK CITY.  THEY ARE BOUND FOR PITTSBURGH TO START A NEW LIFE, FAR AWAY FROM THE UN SPEAKABLE SUFFERING THAT TOOK PLACE IN TULLE. YEARS LATER AFTER LOUIS GRADUATES FROM HIGH SCHOOL, HIS CURIOUS NATURE LEADS HIM TO FIND WORK AS AN OFFICE JUNIOR FOR THE LOCAL GAZETTE.  IT IS HERE THAT A BEAUTIFUL YOUNG JOURNALIST NAMED PAIGE CAPTURES HIS HEART.  SHE HELPS LOUIS UNLOCK PAINFUL MEMORIES FROM THE PAST, WHICH IN TURN SPUR HIM ON, TO DELVE DEEPER AND DISCOVER A SECRET PAST. ON LOUIS’S 21ST BIRTHDAY, CÉLESTE PRESENTS HIM WITH A GIFT. A GIFT THAT NOT ONLY REKINDLES A LOST LOVE, BUT BECOMES THE CATALYST IN A MYSTERY THAT LEADS HIM ON A JOURNEY OF PAIN, RECOLLECTION AND AN ETERNAL LOVE FROM BEYOND THE GRAVE.

From an early age my mind conjured up many strange dreams and stories, probably inspired by Jack Wild in H.R. Pufnstuf and other weird 70’s T.V. pro grammes.

The yearning to break away from the humdrum life of the cash and carry led me to write songs in spired by Bowie, Osterberg and Reed. I was never a great songwriter and painful rejections by some of the big labels cut me deep.

After 8 years of gigging with my band and basically bankrupting myself through purchasing equipment, booking studios and having a way better time than I actually deserved, I threw in the

towel for some hard-earned regular cash. Over the next twenty years; I drove a van; became a bingo caller; performed in a club version of the Rocky Horror Show; I joined the Royal Marines Reserve; played for a semi-professional football team; ran countless marathons, raced in both the Sahara Desert (50°C) and the Arctic (-40°C).

I was never a big reader, but I was always drawn to the tragedy of war and the suffering it causes. I performed poorly in school - but taught myself how to express my ideas through many hours of hard work. Writing this book has been a journey, and I hope if my children take anything from my

work, it will be that anything is possible and never give up on your dreams.

14th October 2014 - The day had started pretty much like any other. Sitting in my office respond ing to the usual emails from management, staff or customers and the guys were preparing the department for the pending annual stock check (Something I can only liken to pulling teeth, but a necessity nonetheless!). At lunch, myself and a good friend of mine Adam Williams had decided to take the company accountant out for some thing to eat…not the best idea as he was generally the tightest person in the company. I returned with a full belly and the usual urge to fall asleep

As I sat there, I noticed a tiny ball of light glance across the wall. Realising it was from my watch, I slowly turned my wrist and like a little child, toyed with it for a few moments until something quite inspirational happened…I can’t explain here as it may spoil the story. But at that point my mind went into overdrive as if I were possessed and the whole story literally poured out of my head!

I went back into my department and told my Assistant Manager Dave Pugh about what had just happened and my idea for the story and he stood looking at me, puzzled, with his first words being… “how the hell?” From that night, I started work on this project, I had never written anything more than a few pages and that night I must have

put down at least 20 pages in storyline alone! While researching the Second World War in France, I stumbled across the atrocities of Oradour-Sur-Glane, which shocked me and stimulated my interest in the region. This led me to discover the Tulle Massacre, another horrific act carried out by the Nazis. All men between 16 and 60 were rounded up, 99 men were hung over three days, and many more died in concentration camps. The more I visited this town in my research (although never physically stepping foot in the place), I grew to love it and I could picture my story oozing from the 18th-century buildings around the town.

Apart from generating storyline, creating scenes and developing dialogue, I also did a tremendous amount of research into various mechanical procedures and time calculations to make the story possible. At one point a friend connected

with the railways told me it wasn’t possible what I had queried him about, so I went away and spent hours figuring out how to make it happen. There are a number of things that I could talk about, but I would rather do that in person.

For the next three years I worked from 10pm until 2 am (Sometimes 3 am) trying to knit this story together to make it work, then up at 6 am with wife and kids for breakfast and another day in the motor trade. With my best friend and wife Laura there to bounce ideas off and my Parents who read every single page I put under their noses, I took this adventure across a number of countries – in my mind, until 15th January 2018 when I wrote ‘The End.’

www.andrewcarrauthor.com

GRAHAM NORTON

HOLDING

Pages: 320 Publisher: Hodder & Stoughton ISBN: 978-1444792003

THE GUN SELLER HUGH LAURIE

Pages: 352

Publisher: Cornerstone ISBN: 978-0099469391

The remote Irish village of Duneen has known little drama; and yet its inhabitants are trou bled. Sergeant PJ Collins hasn’t always been this overweight; mother of two Brid Riordan hasn’t always been an alcoholic; and elegant Evelyn Ross hasn’t always felt that her life was a total waste.

So when human remains are discovered on an old farm, suspected to be that of Tommy Burke - a former love of both Brid and Evelyn - the village’s dark past begins to unravel. As the frustrated PJ struggles to solve a genuine case for the first time in his life, he unearths a community’s worth of anger and resentments, secrets and regret.

Graham Norton’s masterful debut was made into a TV series.

Hugh Laurie’s spy novel deals with CIA agents, terrorists, and arms dealers—everything you would want in a book called The Gun Seller.

When Thomas Lang, a hired gunman with a soft heart, is contracted to assassinate an American industrialist, he opts instead to warn the intended victim - a good deed that doesn’t go unpunished.

A wonderfully funny novel from one of Britain’s most famous comedians and star of award-winning US TV medical drama series, House.

Laurie was worried about being a celebrity author, so he originally sent his manuscript to publishers under a pseudonym, only reveal ing himself as the author after it had been accepted.

THE THURSDAY MURDER CLUB

RICHARD OSMAN

Pages: 400 Publisher: Penguin ISBN: 978-0241425442

In a peaceful retirement village, four unlikely friends meet up once a week to investigate unsolved murders.

But when a brutal killing takes place on their very doorstep, the Thursday Murder Club find themselves in the middle of their first live case.

Elizabeth, Joyce, Ibrahim and Ron might be pushing eighty but they still have a few tricks up their sleeves.

Can our unorthodox but bril liant gang catch the killer before it’s too late?

Richard Osman is a British television producer, presenter, comedian

REVENGE SHARON

OSBOURNE

Pages: 480 Publisher: Little, Brown Book Group ISBN: 978-0751542332

The story centres around two fame-hungry sisters fighting to get to the top. The book got decent reviews, despite the low expectations that came from a television personality pursuing writing. The review in The Guardian said there wasn’t much to complain about when it came to Osbourne’s debut, as it was “glorious, fast-moving, and unashamedly commercial fun.”

‘A sparkling affair . . . Glorious, fast-moving, unashamedly commercial fun. Don’t go on holiday without it’

Julian Clary, Observer

SHOPGIRL STEVE MARTIN

Pages: 220 Publisher: Phoenix ISBN: 978-0753812839

GANGSTA GRANNY

DAVID WALLIAMS

Pages: 304

Publisher: Harper Collins ISBN: 978-0007371464

Steve Martin is best known for his comedic acting, but many people don’t realise that he’s also an accomplished writer. He wrote his first full length play, Picasso at the Lapin Agile, in 1993. After that, he wrote pieces for newspapers, adapted plays, and co-wrote films. In 2000, he released his first book, Shopgirl, which follows a lonely, depressed woman from Vermont after she moves to Beverly Hills. The New York Times called it an “elegant, bleak, and desolat ingly sad first novella,” in the most positive way possible. It was so well-received that Martin ended up adapting his novel into a screenplay for the 2005 rom-com of the same name star ring Martin and Claire Danes.

Another hilarious and moving novel from David Walliams, number one bestseller and fastest growing children’s author in the country.

A story of prejudice and acceptance, funny lists and silly words, this new book has all the hallmarks of David’s previous bestsellers.

Our hero Ben is bored beyond belief after he is made to stay at his grandma’s house. She’s the boringest grandma ever: all she wants to do is to play Scrabble, and eat cabbage soup. But there are two things Ben doesn’t know about his grandma.

1) She was once an international jewel thief.

2) All her life, she has been plot ting to steal the Crown Jewels, and now she needs Ben’s help...

FIRST DRAFT TO FEATURE FILM

Bornin the North East of England and currently residing in London, Mark A. C. Brown is a screenwriter and director.  His directorial debut ‘GUARDIANS’ is available on Sky Store, iTunes and Amazon Prime. It is represented by 101 International.

As a screenwriter my work life falls into two categories. Paid and unpaid. Or commission and spec (a spec script being one that you have written off your own bat in the hope someone will option it). These are two very different processes when it comes to writing the script. With a commission I am working at the behest of the producer or company and so the experience changes from project to project. So, I will focus on how I write a spec script as that is just what I do in my daily life come rain or shine.

It starts with an idea obviously. These can come from anywhere, a scene in a film, an article, a dream, a person, a location. The important thing is that it comes and comes in such a way that its form is solid and obvious. Beginning, middle and end. Or at least the beginning and the end. The middle bit is the hard bit.

Once I’ve decided that there’s enough meat for a feature film, I get quite eager, inpatient even, to get going. I don’t outline extensively. A couple of pages usually. The bare bones of the story. Then I usually blast out 10 or 15 pages in the first sitting. Out of everything in my scripts the opening is the thing that remains mostly the same from the first draft to the last but also involves the most cutting. This is because I often write my way into characters. I let them speak until their voice is second nature in my mind and then I cut back those words to only what is necessary.

The first 10 or so pages of a script are incredibly important as any writer will tell you. You need to put across a lot with a little, set the tone and pace of the film and establish the stakes. All without

overloading with exposition. How this is done alters from genre to genre. Action films need to get going almost immediately while a drama can take its time and drop information as it goes. I often write horror or comedy and both of those genres tend to require pretty quick beginnings due to their high concept nature. So, the audience

work comes from this approach more often than not. To stay true to genre tropes is to lose your own individual voice and perspective. Respect the trope but play with them. All the best films play their own game.

Anyway, back to the writing. How I actually sit down and put it on a page is that I don’t sit down. I go for a walk. So much of my process is wandering. Usually about half an hour to an hour before I sit in front of a screen. I always thought this was procrastination but it’s not. My walks clear my mind of the barrage of ideas that can be overwhelming if not curtailed. It’s kind of like meditat ing. Put on a good podcast and don’t think about anything else until something comes to me or I pass a nice cafe or pub I’d like to write in. I live in the Docklands area of London and so getting the right pub or cafe isn’t always easy. Too many austere city bars and chain cafes. But I have a few select gems that I’ll do a circuit of. The atmosphere of a cafe or pub is where I feel most comfortable. At home there are too many distractions.

needs to know what is going on, who is involved and why. All this sounds quite formulaic, and it can be, but I hate formula. I love smashing genres together, shifting tone and throwing the audience off guard. I am not always successful, but my best

I write about two hours a day. Three in certain circumstances like being on a roll or a deadline. And those two hours can spawn 2 pages or 20. I try and aim for 5 a day. That number comes from my first commission in 2009. I had three months to get a first draft done and so figured that about 5 pages a day meant I could get a draft done in 4-5 weeks and give myself time to polish it before handing it in. That proved to be true and it’s just something I’ve stuck with. The time of day has changed after I had a couple of kids. I used to write from 2-4pm every day and then meet my friends for a coffee or happy hour pint. Now I write straight after school drop off. So, post walk, I start about 10.30pm till 12.30pm/1ish.

I’ve always found writing fairly easy. I have a natural ability for dialogue and character. Structure though was another thing. Even now, after

THE FIRST 10 OR SO PAGES OF A SCRIPT ARE INCREDIBLY IMPORTANT AS ANY WRITER WILL TELL YOU. YOU NEED TO PUT ACROSS A LOT WITH A LITTLE, SET THE TONE AND PACE OF THE FILM AND ESTABLISH THE STAKES.

professionally writing for 13 years I can still find myself 60 pages into what is ultimately two people talking and nothing more. So one of the questions I ask myself if a scene goes over 2 pages is Why? Do these people need this long to do what they’re doing? Does the audience need to hear everything they’re saying and if they do will they enjoy it? I’ve learned to spot my indulgences early (most of the time) but it is a constant battle.

Then we come to the end. The finale. The denoue ment. I’m usually quite attached to the ending that I originally thought of but the route there can change as problems and inspirations arise. So considerable rethinking and tinkering is required whilst retaining the original intent. This can be the hardest part for me as the mechanical nature of re structuring and manipulating doesn’t do it for me as much as other types of problem solving. I love exploring the reasons why characters do things.

I love, in the second act, thinking of interesting twists and turns to get us to the final act. But once the end is nigh, tying it all together often feels a bit sterile to me. A letdown even. Maybe this is just that artistic insecurity of getting near to handing something over and fearing it’s not good enough. Or sometimes I think I rush it out of a desire to get to the end so I can go back to the beginning and start draft 2. I don’t know. I know I love a deadline.

A deadline takes away some of this pressure as once the deadline is here it is here and you must let the chips fall where they may. But with spec scripts there often isn’t a deadline and so you have to be disciplined. You have to say ‘This is done. For now.’ But I am something of a chain writer. As in, I start a new script the second I finish the current one. And that desire to start something new often intrudes on my mind before I’ve finished the last one. So again, I need discipline to get to the end of what I’m writing before I start something new.

Once I’ve got the first draft done to a standard, I’m satisfied with I’ll send it to a few friends and colleagues who will give me feedback, correct my poor grammar and reveal my indulgences. I love feedback and have developed a thick skin over the years, so criticism has become less painful. After all this the script has a life of it’s own. It could sit idling for years or a producer will latch on to it and set about trying to get it made. I have several scripts with several people at the moment and all looks positive but, in this business, things can look positive for a very long time and still nothing can happen. So, we’ll see.

SAFETY FIRST

Thelast thing Jen Faulkner thought she’d do was write books. At the turn of the millennium, Faulkner found herself teaching in a pri mary school, having spent her childhood daydreaming about being a writer. “As a child, if I wasn’t reading, then I was writing or being creative in some way. I had an old typewriter from my Grandpa that I loved to create stories or poetry on.”

Armed with an MA in Creative Writing from Bath Spa University in 2015, Faulkner was shortlisted for the Janklow and Nesbitt Prize - a prize created to celebrate the best in crime fiction - and has now released her debut novel “Keep Her Safe”.

Learning that you can inherit trauma as well as genetics like blonde hair and blue eyes, Faulkner incorporated this new-found knowledge - after seeing a painting of a young girl with long, dark brown hair in a hotel she was staying in, into her book. “The rest of the characters and plot came quickly. That ini tial plan changed somewhat as my characters like to do their things as I write and research, but mostly the overview stayed the same.”

As many writers know, it takes more than one draft to perfect a novel; moving plot lines around, making sure there’s enough tension, not giving away too many spoilers etc., and Faulkner thinks the process is truly fun, “from now on I will always approach a novel by planning it first, I have two pantsed novels (writing without a fixed outline) in a dark drawer that will never see the light of day!”

Creativity, to Faulkner, is something that cannot be forced; however, some times it must be, otherwise, deadlines would never be met. She explains, “I’m lucky I can write almost anywhere, and so whenever I am ready, I can get crack ing. “Keep Her Safe” was written during the first lockdown. I was shielding my youngest two children, and we didn’t leave the house for three months, so I had plenty of time to write (aside from when we were in the throes of home-schooling, of course, which was fun, not).

I was worried about being able to write with less time, but I’ve found this has made me more productive. If I don’t write on Thursdays and Fridays when I am not at work, I can easily fall behind.”

With a part-time job in tutoring, Jen Faulkner - like many of us - juggles her work and passion, concentrating on writing her next novel in her spare time. She is one to watch.

UPPER CRUST

The origins of some common phrases

Upper crust

In days gone by loaves were baked directly on the floor of the oven and consequently the lower part of the loaf became charred. This was cut off and fed to the menial domestic staff, while the top part ‘the upper crust’ was offered to the most impor tant guests. Figuratively it came to be a term for the aristocracy or higher echelons of society.

Throw the baby out with the bath water

This saying is a direct translation of a German proverb and suggests that the essential elements of something can be lost through radical reform or rash change. It was known In England in the early years of the seventeenth century, even though taking a bath then was not an everyday experience.

Red Tape

We use ‘red tape’ as a description of exessive or unnecessary bureaucracy because red tape is used by government officials to tie up bundles of documents

StephenKing writes most of his novels on the computer, but he uses the traditional method now and again. “I’ve occasionally gone back to longhand…because I wanted to see what would happen. It changed some things. Most of all, it made me slow down because it takes a long time…It made the rewriting process a lot more felicitous. It seemed to me that my first draft was more polished, just because it wasn’t possible to go so fast.”

He has a point. Research shows that taking notes by hand allows you to remember the material better than typing those notes on a computer. This has been demonstrated in several studies on the topic, ranging from those which examined memo ry in general - to those which examined note-tak ing methods in a classroom setting. Note-taking on paper might not be as fast as typing on your laptop, it helps you maintain focus, and not go into auto-pilot while typing, making it easier to retain information

Choosing a method of writing boils down to per sonal preference, but it may intrigue you to know there are solid arguments for and against.

Benefits of Writing by Hand

Taking notes longhand has definite benefits, and it can be worthwhile for young writers to work with pen and paper, especially in the early stages of a project. Jotting thoughts down on a pad or in a journal can help you overcome writer’s block and develop a more tactile relationship with your story ideas.

Writing by hand is also useful for visual learners. Writing longhand notes gives you the graphic freedom to easily sketch an infographic or another non-traditional layout to put your thoughts down and visualise connections.

Writing by hand helps you avoid distractions. Technology can be an incredibly time-consuming

and distracting part of our lives as writers. Writing fiction requires focus and shutting out distractions is an obstacle for many professional writers. Writ ing longhand away from your smartphone, tablet, or computer can help you focus on actual writing with pen and paper instead of with a keyboard or stylus.

Writing by hand boosts the learning process. Re search conducted by Daniel Oppenheimer at the University of California shows that handwritten notes help with memory and recall. Oppenheim er’s study shows that areas of the brain associated with recall and comprehension are more engaged when students write notes with a pen and paper. Writing by hand can also be artful. Many people choose handwritten notes over computer notes simply because they prefer the aesthetic. If you have good penmanship or are skilled at cursive and calligraphy, handwriting notes can give you an outlet to practice a hobby while also working on a creative endeavour.

Benefits of Typing

Typing on a word processor is a part of the writing process for most professional writers. Typing pro vides ease and speed. Working on a laptop is great if you are pressed for time or need to work on a complex task. Computers are almost a necessity if you are transcribing something word-for-word, and they are also very helpful in the editing pro cess. Self-editing is much easier and cleaner and rough drafts are easily edited on a laptop. Typing helps you avoid hand cramps. Though carpal tunnel and posture issues do come up for people who rely on typing, many people find that writing longhand is a much more physically demanding process.

Typing is better for work that requires formatting. If you’re working on an assignment with a word count or that requires specific margins and layout, a computer allows you to keep track of these

things very easily.

Typing is good for research and multitasking. Depending on where you are in your note-taking process, you might need to multitask and research as you write notes.

Typing enables you to back up your work easily.

Writing on a computer can offer a more secure place to store your first or second draft than writing longhand. Let’s face it, it is better than backing up your work in the dog - or under a full glass of water!

The easy answer to the question “Which method is better?”- the answer is simple. Neither. Every writer will find the tool that best suits them.

IN THIS HIGH-TECH, FAST-MOVING 21 CENTURY WORLD, WHAT ARE THE CHANCES OF FAMOUS WRITERS USING PEN AND PAPER TO SUBMIT THEIR WORK? SURELY, THAT’S ALMOST A SIN, ISN’T IT? WELL NO. JK ROWLING AND QUENTIN TARANTINO ARE JUST TWO EXAMPLES OF THOSE WHO REGULARLY WRITE LONGHAND. PAPER vs DIGITAL?

Gina was born in the late 1950s to a mum who frequently abandoned her in a pram outside Woolworths and a dad who after two pints of beer could play a mean Boogie Woogie on the piano in the front room of their 3-bed semi. Being the less adventurous of three children, she remains there to this day - apart from a long weekend in Bognor Regis in 1982.

Her teenage years were filled with angst, a CSE in Arithmetic, raging pimples and Barry White. Marriage and motherhood ensued, followed by divorce in her early thirties and a desperate need for a career and some form of financial support for herself and her young daughter. Trundling a three-wheeled trike along a leafy path one wintry day, memories of her favourite author Enid Blyton, ginger beer and solving mysteries and her lifelong passion to be a police officer, excitedly gave way to an epiphany. And thus began an enjoyable and fulfilling career with Merseyside Police.

On reaching an age most women lie about, she quickly adapted to retirement by utilising her policing skills to chase after two granddaugh ters, two dogs and one previously used, but still in excellent condition, husband. Having said goodbye to what had been a huge part of her life, she suddenly had another epiphany. This time it was to put pen to paper to write a book based on her experiences as a police officer. Lying in bed one night staring at the ceiling, Gina’s alter-ego Mavis Upton was born.

Gina has turned to the Women’s Institute for a new series following the escapades of amateur detectives Pru and Bree. Q Magazine caught up with her recently...

Have you always fancied writing or was the idea totally out of the blue?

As a police officer, I enjoyed what was called

‘painting a picture’ when statement taking. It is so important to be able to depict an incident that can assist a judge and jury, maybe many months later, to see, hear and feel the evidence being submitted to them. It was my job to bring it to life by using words to describe some of the most traumatic incidents. An evidential statement is a form of sto rytelling. I also had a knack for attracting certain types of jobs that wouldn’t always turn out to be as straightforward as first thought. Many of them would give rise to hilarious situations which I’d happily relate to everyone back at the station. On one such incident where I’d been sent to a report of a sudden death at a penthouse apartment; I’d hiked up seven flights of stairs because the lift was out of order – which took me forever to reach the top, only for the ‘dead body’ to suddenly wake up and scream at me demanding to know what I was doing in their bedroom. This caused me to clear the seven flights downstairs again in 2.2 seconds flat in sheer fright and for my colleagues to encourage me to think about writing a book based on my exploits when I retired.

Did you set out to write comedy or did it flow naturally?

I’m very fortunate to be able to see the positive or the funny in most situations, and I do have quite a dark sense of humour, which is indicative of most emergency services personnel, it’s a sort of coping mechanism. Because my first book was based on the humorous aspects of being a police officer, I think the comedy element was a natural progression. I have since tried to write a serious book, but somehow, humour crept in again. I can cover difficult subjects, which I have done as impact chapters in the Constable Mavis Upton trilogy, and in my latest book there is a dark background to the comedy, but I do try to balance it. I just feel there is enough sadness in the world without adding to it. If I can make a reader smile or laugh out loud, then that is what makes writing so worthwhile.

What was your approach? Did you have an over view of a story in your head or was it just events you recalled that became a story? Funnily enough I had a title for my first book before I had penned one word of the manuscript. It was originally Handcuffs, Truncheon and a Primark Thong (a nod to my penchant for cheap Primark fineries under my combat pants for work) but because of the complications involved in trying to obtain permissions to use the trademark name, my publisher asked me to come up with an alternative. I was actually sitting in our small est room at the time reading his email and just happened to spot the label poking out from the top of my knickers. They were 100% polyester so it was a bit of a eureka moment, and so Handcuffs, Truncheon and a Polyester Thong was born. I still work with a ‘title first’ approach as it gives me the momentum to create the storyline. It is always something that can be changed later if the plot dictates a move away from the original, but for the writing process I find the title is my start ing point… and then I just let my imagination run wild. The characters ‘talk’ to me, so they are the ones that decide the direction the story will take. The Mavis books were based on real events interwoven with some fiction, the back story involving her mum is a true life tribute to my own mum. The new series is purely fiction but with some of the comedy incidents inspired by real life situations.

Do you dedicate a set time to write? How often? Oh dear, I know I’m supposed to say I’m incredi bly focused and have a strict writing regime, but in truth I’m very random. I can excitedly wake up at 4am with an idea and I have to get it down there and then, even if it’s only bullet points. I’m at an age now that if I go back to sleep without jotting it down, by morning I’ll have forgotten it. When I’m on a deadline with a manuscript I can apply myself to a routine for writing, which is usually from mid-morning until 4pm. Taking into ac count random afternoon Nana naps that have my WAKE UP AT 4AM WITH AN IDEA AND HAVE TO GET IT DOWN THERE AND THEN, EVEN IF IT’S ONLY BULLET POINTS. I’M AT AN AGE NOW THAT IF I GO BACK TO SLEEP WITHOUT JOTTING IT DOWN, BY MORNING I’LL HAVE FORGOTTEN IT. CHOUX

nose accidentally touching the keyboard adding to my word count, I can probably complete 1,200 to 1,500 words per session towards an 85,000 to 90,000 word finished manuscript.

Did you ever doubt your ability along the journey?

Gosh I doubt my ability every single day. I have the most horrendous case of ‘imposter syndrome’ even after four published books and a fifth coming out in November. I just don’t feel worthy of the title ‘author’ at all. I still keep pinching myself with every new deal and contract offered. I have just been to my first Theakston Old Peculiar Crimefest at Harrogate. I’ve always wanted to go and felt this time I was partially eligible as I had killed someone (well several if I’m honest) in my new book. I was totally in awe of all the well-known authors there, Michael Connelly, Val McDermid, Mark Billingham to name a few, but I was completely thrown when someone came up to me and thrust a book in my direction and asked if I would sign it. I actually looked behind me to make sure they hadn’t made a mistake and it was someone else they wanted but after checking the cover and seeing my name on it, I had to accept it really was for me!

I am incredibly lucky to have got this far, I just wish my mum and dad were here to see it.

Who was the first person to read any part of your written words? What was their reaction? The very first person to see the Handcuffs man uscript was my incredibly talented nephew, the

Liverpool crime writer, Luca Veste (bit of a proud auntie moment). I still have the screenshot of a tweet he sent saying he loved it and that it was something special and original. That meant the world to me and gave me the confidence to start querying publishers with it. Did you suffer writers block at any point? Absolutely! It’s a writers worst nightmare sitting in front of your laptop watching the curser bob up and down whilst your brain remains totally empty of anything worthwhile to progress your story –and then it only comes to life when you suddenly think a packet of Cheese & Onion crisps would go down a treat. I usually switch off my laptop and find something to occupy me that has absolutely nothing to do with writing. It can be anything from indulging in an excitable game of The Floor is Lava with my grandchildren to drowning myself in a vat of vodka!

Are your characters based on real people or are they fictitious?

The majority of my characters are based on real people, I’m a terrible ‘people watcher’, always looking for inspiration and ideas. In my latest series, of which Murders At The Winterbottom Women’s Institute is the first, I was inspired by the WI ladies that I have the pleasure of meeting dur ing the author talks I do around the country. They are such a welcoming, fun and inclusive gathering with so many wonderful characters and person alities I couldn’t fail to be inspired by them. I was over the moon when a few of the ladies allowed me to base characters on them for the book, with

a little bit of artistic licence thrown in; although I must confess, I didn’t meet a ‘Phyllis’ amongst them – or did I?

Are there plans to write any more in the series?

My publisher, Bloodhound Books offered me a contract for the second in the series shortly after I had submitted and signed with them for Murders at The Winterbottom Women’s Institute. Initially this was going to follow the main two characters Prunella and Bree on another adventure, but I loved the WI ladies too much to leave them behind, so they have come along for the journey too and are happily starring in the sequel, Murders At The Montgomery Hall Hotel which will be published in November 2022.

Who are the your favourite writers?

Oooh I’ve got a huge list of favourite writers, but I do love Stephen King, Peter James, Harlen Coben and Dean Koontz. Although I write humour, I never read comedy books, apart from the Paul O’Grady autobiographies. I absolutely adore him, so they are a must. I’m usually more of a crime and supernatural book lover.

It’s a quiet English village—except for one crazed murderer—in this delightful romp by the author of the Constable Mavis Upton series.

Librarian Prunella Pearce has left heart break behind to start a new life in the village of Winterbottom, where there’s little social life to be had aside from the meetings of The Winterbottom Women’s Institute at the parish hall.

But a bit of excitement ensues when the group is about to elect a new presi dent—and the nominees for the position begin dropping like flies. One is found facedown in a lemon drizzle cake, stabbed with a crochet needle. Another nearly dies spectacularly in the revolving doors of a Harrogate hotel. When Pru and her friend Bree agree to do some undercover snooping to help the police, little do they know that one of the Winterbottom women is hiding a scandalous secret . . .

Pages: 342

Publisher: Bloodhound

ISBN: 978-1914614965

MURDERS AT THE WINTERBOTTOM WOMEN’S INSTITUTE IS AVAILABLE IN: AMAZON, WATERSTONES, WH SMITH, WALLMART -

A people who make them.

WHEN THE CREATIVE FLOW STOPS

Many creative writers have been burdened by writers block, a phenomenon that’s been around for centuries. Even the great Charles Dickens felt enormous pressure to write a bestselling novel after initial success with Oliver Twist. He was unable to produce anything worthy, finding his creative juices had run dry. He was devoid of fresh ideas until he overheard the maid telling his children a story about Christmas. Something so small and insignificant profoundly affected Dickens, and he wrote his masterpiece A Christmas Carol with ease. All his previous internal and external battles gave way to creative flow.

It wasn’t until the 1940s that writer’s block was first given its title when Edmund Bergler, a prominent psychotherapist, wrote The Writer and Psychoanalysis. Edmund spent 20 years researching the condition spending time with writers suddenly unable to write as they had before. During this time, he could eliminate some of the beliefs of the day, that writers stopped being creative or lacked incentive from outside factors. The Writer and Psychoanalysis makes for some very interesting reading.

“When the writer cannot convince his super-ego of the harmlessness of his imagination, he has no ideas at all. If, however, he clears that hurdle but cannot obtain approval of his (harmless) exhibitionism in writing it down, he cannot write.”

- Edmund Bergler, The Writer and Psychoanalysis

Writer’s block is a debilitating condition. Staring at a blank page, unable to conjure up any inspiration or words, can profoundly affect a writer. You might find it difficult to begin or continue

a piece and become frustrated with the lack of imagination.

The reasons vary. For example, those with a looming deadline often suffer the intense pressure of finishing on time which can hinder the thought process. Outside factors such as a busy family life, children or pets interrupting, or a lack of confidence can also be considered causes for writer’s block.

there, telling ourselves we need to go to the shops to purchase a random piece of stationery we think we might need or have a clear out, both of which are avoidance techniques.

Taking yourself out of the situation is a great way to start. Going for a brisk walk or another form of exercise will not only get the heart pumping but could kick start your creative juices too. Once you have returned, ensure you have a quiet space and instruct those around not to interrupt. It is much harder to think clearly when sounds are punctuating your thoughts.

“WHEN THE WRITER CANNOT CONVINCE HIS SUPER-EGO OF THE HARMLESSNESS OF HIS IM AGINATION, HE HAS NO IDEAS AT ALL. IF, HOWEVER, HE CLEARS THAT HURDLE BUT CANNOT OBTAIN APPROVAL OF HIS (HARM LESS) EXHIBITIONISM IN WRITING IT DOWN, HE CANNOT WRITE.” -EDMUND BERGLER, THE WRITER AND PSYCHOANALYSIS

Be inspired by others, chat with a friend or peer about your ideas - there may be something in the conversation that stimulates your creativity.

Take a break; looking at a blank page waiting for inspiration can be soul-destroying. Make sure you are ready to start writing. If the timing isn’t right, step away to revisit later.

Free your mind by reading encouraging quotes or pieces in your own genre. Once immersed in another’s work, you will hopefully forget that you are struggling, opening the mind to new thoughts. BLOCK

Whatever the reason, how to get back on track is of paramount importance. It isn’t always easy and different things work for each individual.

Many authors thrive on routine. Plan ahead, and start at the same time each day; it could help you focus on the task in hand.

To avoid procrastinating, ensure you have everything you need to begin. We have all been

EXPRESS YOURSELF...

Whenyou talk of songwriters from Liver pool, the general public would assume you were about to reference The Bea tles. Many forget that the Merseybeat era was more than one insanely accomplished band. Armed with his signature Gibson bass, Billy Kinsley was among the many talented men and women to emerge from that historic time.

Kinsley’s work notably included working for Apple Records alongside George Harrison, and he is featured on at least one song for Jackie Lomax. He has worked on the famous Top of the Pops record series, during which time he worked with fellow musician and friend Jimmy Campbell and formed the band Rockin’ Horse. They recorded one album and toured England and Europe as the backing band for Chuck Berry.

The first band Kinsley, formed in 1960 with Tony Crane, embarked on a musical journey that would give them worldwide success and songwriting recognition. They changed their name several times over the years, but you and I are more familiar with the name The Merseybeats.

After a series of hits as the Merseybeats, two of the band left, leaving frontman and guitarist Tony Crane

and rhythm guitarist Kinsley. The duo re-christened themselves The Merseys and recorded “Sorrow” for their first single using top UK session musicians.

Kinsley formed Liverpool Express in the mid-1970s. The songwriting partnership of Kinsley and Roger Scott Craig developed at the Bluecoat Chambers in Liverpool when they started rehearsing together and writing some of the band’s earliest material.

Among Liverpool Express’ UK hits were “You Are My Love,” which is said to be one of Paul McCartney’s favourite love songs, “Dreamin’”, “Every Man Must Have A Dream”, “Hold Tight”, and “Smile”. They toured the UK and Europe supporting Rod Stewart, released more singles, and found popularity in South America.

Sitting under the statue of Abraham Lincoln, the idea for “Every Man Must Have A Dream” came to Billy randomly. He described how sometimes the words could come first, a melody, a hook line, or even just an idea, and it will spiral from there. Being a songwriter comes naturally to Billy, and it’s shown with his incredible hits.

Liverpool Express’ most significant success came in 1977 when they clinched two consecutive number-one hits in South America. A tour of Brazil was quickly formed off the back of this (they were the first band to play large stadiums in Brazil).

Roger Scott Craig has been quoted during an interview saying: “The show (we did) in Belo Horizonte came to a complete standstill when I started to play our hit record, “You Are My Love”, the crowd just went nuts to the point that our singer, Billy, could not even sing the song - he was overwhelmed by the crowd, and the tears ran down his face”.

“You Are My Love” was written about Kinsley’s wife, Sandra; Imagine having 25,000 people singing your song back to you; the emotion he must have felt hearing that would have been epic. We have goosebumps just thinking about it!

The early ’80s saw Kinsley forming a side band, The Cheats, with members Kenny Parry (guitar) and Brian Rawling (drums), playing pubs and clubs in and around Merseyside.

Billy continued writing and, alongside Kenny Parry, penned two great tracks in “If You’re Out There” and “So What”.

It is fair to say that Billy Kinsley is a master songwriter, and the Merseybeat era would not have been the same without his beautiful lyrics and melodies. We thank you for those memories, Sir.

HEARTSTOPPER

AliceOseman, 27, has sold nearly a million pounds worth of books every month and is on course to pocket £60 million globally — in 2022 alone.

Born in 1994 in Kent, England, she is the creator of LGBTQ+ YA romance webcomic Heartstopper, which started life as a crowdfunder and is now published in both a physical form and launched as a highly acclaimed Netflix show starring Olivia Coleman.

Alison had also written four Young Adult contemporary novels about teenage disasters, the first, Solitaire when she was 17. Her YA novels have been nominated for the YA Book Prize, the Inky Awards, the Carnegie Medal, and the Goodreads Choice Awards.

Her website contains content warnings reinforcing that her material is current, relative and inclusive. Alice tackles issues such as depression, mental health, abusive relationships and suicide, skilfully capturing the experience of twenty-first century adolescence.

Alice Oseman’s titles in the UK netted £5.5 million from January to June. That puts her ahead of David Walliams (£4.7 million), J.K. Rowling (£3.8 million), Lee Child (£2.1 million) and Sally Rooney (£1.3 million). aliceoseman.com

LITCOM

SueBordley has been writing all her life, but it was only after a twenty-year teaching career that her first novel was published in 2017. Since then, she’s written three more novels, a bestselling book for children and her first litcom. Her poetry has also been published in numerous anthologies.

Sue’s books – those written under her name and the penname of Jess Molyneux - can be bought from Amazon. Meet Candy Kane.

She’s just your average mum... if your average mum wears pyjamas for a business meeting, starts fights with builders and is on the local police’s Most Wanted list.

Then there’s the rest of the family: Chris, who could kill you with two fingers, but you could kill him with two minutes’ conversation; Jack, who’s hell-bent on world destruction and Olly, who wants to get his hands on his mum’s red stilettos...

Yep, life sucks all right, but she’s always... Sweet Like Candy. Sweet Like Candy by Sue Bordley is a new concept in writing: the Litcom. Divided into episodes rather than chapters, it’s a sitcom on paper - featuring the Kane family: a typical nuclear family, as long as you take the meaning of the word ‘nuclear’ as being prone to explode at any time...

“Back in February 2021, I was struggling as a writer. I’d always written about real life in my four novels, bestselling books for children, and even my poetry. However, we were in the midst of a lockdown robbing us all of our lives, and I was floundering. How could I come up with stories in a world where all we

did was exist? There was no longer any inspiration, no characters or situations from which I could find my starting point. Instead of writing, I was slumped in front of my TV for hours on end, escaping from reality and into the comforting world of the sitcom: a world in which characters griped about each other’s faults, get-rich-quick schemes always ended in disaster, and there was always a punchline to leave you laughing at the end of the episode. Then it hit me. What could be more inspirational than my own life? For years, people had told me I needed to write a book of the tales of strange things that had happened to me. Combine that with the crabby state I found myself in due to lockdown, and it all came together in Candy Kane, the most hilarious, delightfully miserable, savage wit that is the main character of this litcom.

I decided to write a litcom as opposed to a traditional novel because I could feature self-contained stories as episodes - rather than have dull intervals of the family’s day-to-day lives. Using the litcom format, the reader could get just the best bits without any filler.

I based the storylines on events experienced by my family and me. I took minor events and extrapolated them into something far more bizarre, added in minor characters and finally, topped it all off with a healthy dose of rapid-fire humour and savage wit - and Sweet Like Candy was born.

After only a week into the release, it’s received fantastic reviews. One reader said, ‘It’s like Frankie Boyle wrote an episode of My Family!’, so I’m already planning that there could be a series of litcom books about the Kanes.