Archive for category Writing
The Lewis Carroll Society is launching a writing competition to commemorate 150 years of ‘Through the Looking-Glass’ and to celebrate the creativity of Lewis Carroll. The award is part of the bequest from Ellis S Hillman who was the first President of the Lewis Carroll Society in 1969.
The challenge is to write a ‘missing’ chapter for either Alice’s Adventures in Wonderland or for Through the Looking-Glass. The chapter can introduce new characters or re-use existing characters. It can create new scenarios or follow from an existing scenario.
The competition is free to enter and offers a prize of £100 in each of three different age groups (including adults).
The closing date is 3rd July 2021 which coincides with Alice’s Day in Oxford.
Full competition details can be found on the Lewis Carroll Society website.
So, scoot down the nearest rabbit hole, take tea with the Mad Hatter and let your imagination take flight!
I’ve been rather quiet about my own literary endeavours of late, so here’s a quick update.
At the beginning of February the first three chapters and synopsis of last year’s NaNoWriMo manuscript generated a call for the full manuscript from my agent. Since then I’ve been working on bringing the rest of the manuscript up to scratch. Today I pressed ‘send’ and now have around six weeks to wait for the verdict.
I’ve also completed a training course (via Zoom) to become a Shared Reading Group Leader. I’m looking forward to the end of restrictions and the opportunity to get a real-life group started.
So what do I do while I wait for the above two things to come to fruition? I’ve made a little list of possibilities. They won’t all get done but, hopefully, the list will mean I don’t waste too much time procrastinating:
- Complete article commissioned by The People’s Friend
- Chase up pitches outstanding with other publications.
- Attempt to win my way to the Swanwick Writers’ Summer School by entering their short story competition.
- Publish my short story collections on Kobo when the relevant KDP Select enrolments end. This will involve sourcing new covers. Kobo cited the existing covers as a factor in stopping the books being accepted into their promotions.
- Investigate whether I have enough short stories to publish another collection.
- Revisit the categories/keywords on my existing KDP publications.
- Update Kindle Direct Publishing for Absolute Beginners.
Watch this space to find out how I get on!
What’s everyone else working on? Are you a list-person or do you just go where the whim takes you?
Much is written about crafting the novel synopsis and agent pitch but there’s far less on how to sell a short story to the women’s magazine market via a synopsis.
Writer, S. Bee has put together some good tips for those of us trying to make sales in this ever decreasing market. Here is her advice:
Six UK women’s magazines require a short synopsis – either with the story itself, or before the story is submitted.
- The regular, fortnightly Yours
- The Yours Fiction Special
- Take a Break’s Fiction Feast. (N.B. This has a closed writer’s list and takes all rights.)
- Spirit & Destiny. This magazine requires a story pitch upfront. If they like the sound of the story, they ask for it to be emailed for consideration. They also take all rights to accepted stories.
- My Weekly require a brief synopsis to head up the story. This magazine has a closed writer’s list.
- During the current lockdown, The People’s Friend is asking for writers who have previously been published by the magazine to email a synopsis. Writers new to the magazine should continue to submit by post.
Possible reasons editors ask for a short story synopsis:
- It allows the editor to quickly see what kind of story it is – sweet romance/comedy/crime/revenge, etc.
- It explains the plot, so the editor can decide whether or not the story will work for that magazine.
- It’s useful for the illustrator/picture editor – so consider including significant details about the age and appearance of characters or the location.
Below are six steps to getting the synopsis right:
- Keep to the word count. If the guidelines ask for 200 words, don’t ramble on. Don’t start with: ‘This is a story about…’ Provide a clear outline of the story from start, middle and end.
- Do I reveal the ending? There is some debate around this. Some writers do (I’m one of them) but some choose not to. It’s entirely up to you.
- Run it past a womag writer/ reader friend before submitting. Asking other womag writers to read your work before submitting is useful. I run a womag writers’ email critique group; we read each other’s work and give constructive feedback. Not only can others point out the flaws in the story, they might be able to spot the flaws in your synopsis too.
- Themes/ Genres There’s no need to include the theme or a genre in your synopsis. The word count matters, so don’t fill your lines with: ‘This is an empty nest/ moving on/ dealing with bereavement story.’
- Get to the point Imagine you are an aspiring scriptwriter who steps into a lift with a movie producer. You have an amazing opportunity to pitch your story – but only 30 seconds to do it. Cut the waffle and focus on the chain of events in your story: The main character has a problem/conflict. How do they overcome this problem? What complicates it? How is it solved?
- Get over the dread writing of them. It can seem like a synopsis cruelly chops our work down and removes the heart of the story. But without it, there’s no chance of a sale to the above magazines. The more synopses you write, the more confident you’ll become.
Women’s magazine writer, TW, has kindly provided me with an example synopsis:
Music manager Ross King is visited in his office by Beth and Sam, who are members of one of his most successful pop acts.
Beth and Sam are in their early twenties, slim, blonde and beautiful. They are very excited, as they have met a potential new member of the group, Penny. Ross has a shock when Penny enters the office, as although she is also slim, blonde and beautiful, she is over forty. Ross thinks the group’s young fans won’t accept an older woman as part of the group. He’s forced by politeness to watch Penny audition (sing and dance) and recognises that she is very talented. After some tough argument, Ross agrees that Penny can join the group.
The girls are so keen on her joining them that Ross suspects – rightly – that there is something they are not telling him about Penny, and at the end of the story the girls reveal what this is.
The above story was published in Take a Break’s Fiction Feast. Note that the twist ending wasn’t revealed in the synopsis.
Practice makes perfect. Writing a synopsis – whether it’s for a short story, a novel, article or a play – is a specific, highly valued skill. Give it a go and increase your chances of a story sale!
S. Bee is the brains behind the lively short story anthology Paws for Thought. It is available on Kindle and raises money for the RSPCA.
To find out more about S. Bee and her critique group, Fiction Addition, please visit her website.
Don’t forget there’s lots more information about writing fiction for women’s magazines at https://womagwriter.blogspot.com/
I’ve had a day of writing events.
First up was a writers’ networking meeting organised by Writing West Midlands:
The chief executive, Jonathan Davidson, explained how the selection process for the writer development program Room 204 works – each year there are around 150 people for 15 places, but a worthwhile scheme for ’emerging writers’ if you can make the grade.
The Arts Council England is now open again for applications for Developing Your Creative Practice – grants from £2000 to £10000 are available, but be quick because they close on 5th November.
And a reminder about the free courses offered by Futurelearn and be edX.
Then it was off to Bristol Literature Festival and Build Your Social Media Presence with Tom Mason. He told us that social media posts that include images get 150% more engagement than those without. He recommended using Lumen5 to create mini promotional videos to use with social media and Canva for graphics.
Next up in Bristol was a panel discussion between Phoebe Morgan, editorial director at Harper Collins, literary agent Kate Hordern and book blogger, Anne Cater. Phoebe explained the importance of the hook – it is the selling point to an agent, on to a publisher and then on to supermarkets and book shops. It’s also essential that the book fits a recognised genre, otherwise even the best written book is likely to fall by the wayside. Kate Hodern echoed the importance of hook and genre and mentioned the usefulness of being able to draw comparisons between your book and others already out there. She added that younger agents are often more hungry to take on new writers than older, more established agents who already have a large stable of writers. Anne Cater gave an explanation about the blog tours that she runs for both mainstream publishers and indie authors. She and Phoebe both agreed that, hot on the heel’s of Richard Osman’s The Thursday Murder Club, cosy crime is likely to be the next big thing. There was a general consensus that psychological thrillers are still hugely popular but to be successful, they need to be better than the books being published five years ago and need to offer the reader something different to what has gone before.
Please take the above nuggets and use them as you see fit!
Finally, a couple of months ago I recommended Readly for accessing a multitude of magazines digitally. I now have a link offering you a two month trial subscription if you fancy trying it out: Readly 2 Month Trial. The link is valid until 31/10/2020.
Although lockdown is gradually easing, there are still lots of things we can’t do. Groups meeting together indoors is one of them. This has led to the rise and rise of Zoom, video conferencing software that most of us had never heard of at the beginning of March but now use regularly. I take part in Speakers’ Club and Shared Reading on Zoom. We have family catch-ups and quizzes and there’s been guided alcohol tasting too!
On Saturday I tried something new – an all-day Writers’ Retreat on Zoom.
It was organised by Sophy Dale of Fully Booked and ran from 10:30 am to 4:30 pm. There were around twenty of us online and Sophy stopped any chaotic, cross conversation by keeping us all on mute. Instead of speaking we typed in the chat box a few sentences about what we intended working on. This included novels, short stories, blog posts, a translation and a guided meditation, among other things. For those who didn’t have a project in mind, Sophy provided writing prompts and also offered guidance to anyone who was struggling or had questions.
Introductions and explanations over, Sophy set a timer for 45 minutes, we all minimised the Zoom window and started writing.
It’s amazing how a defined time limit and the knowledge that others are beavering away too helps creativity! I focused on the chapter I was writing and the words came quickly.
After 45 minutes we were all called back together to add more comments to the chat window and then take a five minute comfort break before the next writing sprint. At lunchtime Sophy gave us an hour away from the screen and encouraged us to get some fresh air (I mowed the lawn, which went some way to cancelling out the ‘guilt’ I felt for spending a whole day on writing).
Through the course of the day we had five writing sprints. I switched from churning out words to reviewing the structure of the story and ironing out parts of the plot that didn’t work.
At the end of the afternoon there was time for comments on the day and everyone deemed it thoroughly beneficial. Sophy is planning on doing it all again sometime later in the year.
It struck me that a retreat like this would be easily organised by a group of writing friends – but it would require someone to have the paid-for version of Zoom. I fear the continuity of the retreat would be lost if participants had to keep logging into a new meeting every 40 minutes!
Just before Christmas, Cornerstones Literary Consultants ran a Twitter competition to win one of several half-hour consultations with Helen Corner-Bryant. I was a lucky winner and this morning Helen phoned me for a brainstorming session. Helen had no prior knowledge of me or my novel but she was quick to take on board my story concept and where I am in my writing journey.
The good news was that characters (like mine) aged around 50 are popular at the moment.
The not so good news was:
- It sounded to Helen like there was passivity on the side of my main characters so I might like to gee them up a bit and make them more active.
- My working title isn’t brilliant – it’s likely to get lost in a morass of other books . This is a small problem that can be sorted out later.
- The structure of the novel might need attention to make sure that it fits the standard three act structure that publishers like. We talked about rising tension peaks and the low point in the novel, where the main character is worse off than she was at the beginning of the book. On the plus side structure-wise – I do have an obvious inciting incident.
Moving forward, my plan is to re-write the book’s synopsis against the three act structure so that I can see what fits and if anything is missing.
The thirty-minute consultation went by in a flash. There was no sales pitch about Cornerstones’ services but, having spoken to Helen, I’d have confidence using them should I ever decide to go down that route. A half hour well spent!
For a long time, I avoided embarking on a novel because I was frightened of failure. Afraid of not completing the novel. Afraid of creating something that was complete rubbish. Afraid of not getting the finished manuscript published. But most of all, afraid of wasting months or years of my life on something that no one else would ever read.
So, I stuck to short stories and articles. There was still the risk of time wasted on writing stuff that would be rejected. But these were much smaller blocks of time and the odds were, that with enough pieces ‘out there’, some pieces would be accepted by magazines for publication. Some were. And some weren’t.
The pull of wanting a novel with my name on the cover grew. I buried my fear and started trying. As expected, it was difficult. My first attempts didn’t get past chapter three or four. But, with persistence, I completed a novel. It went on to win a competition and was published through Amazon. And gave me the confidence to try writing another. The Book Guild thought this next one had commercial potential and that too was published. The third novel got me an agent but not a publisher. Just before Christmas I finished the second draft of novel number four. This novel is now ‘resting’ before I read it again with fresh eyes to spot what does and doesn’t work in the storyline.
I promised myself a treat during this resting period – some short story writing! I was looking forward to this because I’ve always loved the buzz of achievement on completing a story and sending it out into the big wide world. In novel writing that buzz is rare.
This treat is turning into wasted time. With short story writing there’s no continuity between writing sessions. New characters and situations have to be constantly created – and that’s hard work. It’s far easier to slip back into the familiar world of a part-finished novel and bash out a few more pages. My productivity has plummeted and I’m looking forward to returning to editing the novel.
Which is easier – short story or novel writing? Or is the grass always greener?
I’ve been on a writing retreat!
Unfortunately it wasn’t a week in a glamorous, sunny location but two nights in a Premier Inn on an industrial estate near Warwick. It was an experiment with a writer friend to see if 48 hours away from domestic distractions would enhance our productivity and propel us into the heart of our plots.
We worked in two and a half hour chunks before meeting up for tea and homemade cake or a 30 minute walk round the block or breakfast or dinner. This method kept us well fed and there was always a break to look forward to. I found that after two hours my concentration was waning and I was ready for some company and chat (and cake!)
Did it work?
My companion was doing NaNoWriMo. On arrival she was behind on her daily word count, when we left she was ahead, as well as having done some character sketches.
I was trying to pull together a very wobbly first draft. Prolonged writing time on the retreat enabled me to see the plot as a whole and get some editing done. In our breaks we did a lot of writing talk and my writer friend gave me a new idea to increase the tension within my story. I spent time working out how to weave this into my existing chapters.
Yes, the retreat worked and was worthwhile. But we both agreed that we couldn’t maintain that level of work/concentration beyond a weekend. So a whole week writing in the sun would probably be wasted on me (if it’s sunny I’d rather be in the pool or sightseeing!) but another weekend on an industrial estate is something I’d consider …
As everyone’s gearing up for NaNoWriMo next month I thought I’d give you an update as to where I’m at with my own writing.
Around this time last year I signed with the wonderful Juliet Mushens of the CaskieMushens literary agency. Juliet liked the concept behind my novel and could see how it needed re-writing to give the story a much better flow. She had some great ideas and, together, we greatly improved the manuscript through three rounds of editing.
In July of this year the book went out on submission to publishers. There were positive comments about the writing but unfortunately it didn’t find a buyer. Obviously, after all the work, this was disappointing but I’m not the only author to get so far down the line and then come away with nothing. I knew it could happen, which was the reason I didn’t shout about signing with Juliet at the time.
Juliet suggested putting that manuscript to one side and getting stuck into the next novel. So that’s what I’m doing. I have a head full of doubts about my ability to actually create another full-length manuscript which will be of interest to anyone except me and my mum. However, having come this far and with Juliet willing to at least read whatever I come up with, I feel have to give it another shot.
I won’t be doing NaNo because I’m not at the right stage of the book for that but I am aiming to work on the new novel every single day in November and beyond.
By the way, if you’re wondering about the illustration on this post, it’s something which features in that unsold manuscript.
Good Luck to all of you aiming for 1700 words per day next month!
Over the last few weeks I’ve been trying to get started on a new novel. My usual strategy is to create a quick list of scenes that get me from beginning to end and then I start writing.
BUT, invariably, as I get to know the characters and the story-line better, I go off plan. My narrative goes around the houses and there’s a lot of wasted time and much re-writing. This time I want to avoid all that. So, I’ve been using a couple of resources to help me create a proper story structure and character arcs before I get too deep into the writing.
The Snowflake Method
The Snowflake Method was pioneered by Randy Ingermanson and was recommended to me by children’s author Lorraine Hellier.
This method dictates that the writer should start with the simplest premise possible and gradually expand to create plot and character details. For example, step one is ‘Write a one sentence summary of the story’. Step two is ‘Expand to a one paragraph summary.’ By following all six steps, the writer ends up with character bibles, a four-page synopsis and a scene list. The Reedsy website explains how to use The Snowflake Method in an easy to follow way. In addition, there are lots of useful resources on Reedsy such as character and story structure templates to download, which I found useful.
5 Secrets of Story Structure: How to Write a Novel That Stands Out
At time of writing this is a free e-book by KM Weiland. It’s short and easy to read. Most of us will be familiar with the three-act structure but this book provides more plot points on which to hang the story. For example it talks about pinch points which are small turning points between the main plot points.
I found the book very useful.
If you’re looking for more reading on the subject of novel structure, have a look at the five recommendations in this blog post by Rachel McCollin.
Finally, if you’ve got a tried and tested plotting/structure technique, please add it in the comments below!