Archive for category Writing
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!
A few days ago I visited The Museum of Brands in London. The museum takes the visitor on a colourful stroll through the branding, advertising and consumerism of the last two hundred or so years. It’s a wonderful microcosm of British social history.
The visit left me with two thoughts. Firstly, it made me feel ancient. A large part of my childhood and the years beyond were in those glass cases. Surely I’m not old enough for my lifetime to become museum worthy! Who else out there remembers Spangles sweets, Jackie magazine, Philadelphia cheese wrapped in silver paper rather than in a plastic tub, Caramac bars (just discovered you can still buy those) and renting instead of buying a TV?
Secondly, it brought home to me how the long-lived brands had evolved over time in order to survive. Much of this evolution was done in baby steps – a change of font for the logo, moving from a metal to plastic packaging or updating the slogan. Companies like Sony have constantly innovated to ensure their products always offer the consumer something new and attractive. Unfortunately Kodak didn’t and was lost in the great tsunami of digital photography.
What has this got to with writing?
It’s a reminder that we should always be looking where we are going with our writing careers. For example the market for womag stories is rapidly shrinking meaning those of us who used to target women’s magazines with our short stories need to find new outlets or try a different form of writing. Attracting an agent for a novel is as difficult as ever – is it time to set a limit on the number of rejections and then start investigating other routes such as the growing number of new independent digital publishers like Hera who accept unagented submissions? Or maybe it’s time to try non-fiction or a different genre?
The important thing is to stay current with what’s going on in the writing world and be proactive to avoid being left behind. Be a Sony not a Kodak! Simon Whaley has been talking about a similar topic on his blog this week.
Incidentally, whilst going through my kitchen cupboards to take the photo accompanying this post, I discovered that most of my tins and packets were supermarket own brands. I wonder what that says for branding in the future?
It fascinates me how our past affects our present and future lives. The past might be our upbringing and parental influences, it might be something we did that makes us ashamed and secretive, it might be the impact of external events on our everyday lives.
Recently I went to see Chicken Soup in the Studio Theatre at the Crucible in Sheffield. Written by Ray Castleton and Kieran Knowles, the play focuses on three miners’ wives and shows the effect the 1984/85 miners’ strike had on the rest of their lives, their family relationships and on their enduring friendship. There are three acts, each one in a different year: a 1984 soup kitchen/foodbank during the strike, a 2002 Queen’s Golden Jubilee party and a foodbank on the day of the 2016 EU Referendum. To add to the atmosphere the audience are given vouchers to claim a free serving of soup in the interval – forced to form a queue at a makeshift ‘soup kitchen’.
By 2002 and 2016 the lives of the three women have taken different paths. Following the strike one has become more politically active and is now a councillor. One has bettered herself by taking accountancy exams and ends up a high-flying career woman. The third seems stuck in the past, still carrying a hatred for her brother who crossed picket lines during the strike. Each has been affected in a different way by the past.
This made me think about my own characterisation when I’m writing fiction. Do I think sufficiently about how each character has come to be where they are? Am I dropping the important parts of their past into the story subtley or am I shoehorning in great hunks of backstory? Are the characters acting realistically, given what they’ve been through in the past? Why are different characters affected in different ways by the same past event?
What about you – do you think about how the past is motivating your characters’ actions in the present? How do you tell the reader about that past life? Do you know their past before you start writing their present?