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Tuesday, February 28, 2006

Hurrah For Holidays!

As we're just off on our hols, here's something to get me (and you) in the mood:

Can you match up these comments on holidays with their authors?
1. A perpetual holiday is a good working definition of hell.
2. Term, holidays, term, holidays, till we leave school, and then work, work, work till we die.
3. If all the year was playing holidays,
To sport would be as tedious as to work.
4. If I were a medical man, I should prescribe a holiday to any patient who considered his work important.

a. Shakespeare
b. Bertrand Russell
c. George Bernard Shaw
d. C.S.Lewis

Writers' Blog will continue (although perhaps more sporadically) during our break. Watch this space!

Monday, February 27, 2006

You've Got The Talent - But Have You Got The Stamina?

So, how does one get to be a published writer?
Well, the short answer is: 1. write something 2. send it off to a magazine, a newspaper, a website, a publisher.
Now that might sound a bit facetious, but at base it’s that simple.

There are ways to try to make your submission more likely to be accepted than the next one in the pile – mainly that boring but essential process of market research. You can write the best short story in the world, but if you send it to a magazine which only publishes non-fiction it will instantly be rejected. (This may sound self-evident, but sadly editors and publishers are sent piles of stuff that is just totally wrong for their publications.)

And if you get the magazine right, but the length wrong, it will find its way to the trash can just as quickly. I once had an aspiring writer blithely tell me that it wasn’t important to ascertain the maximum (or minimum) word length published by your target market: ‘if the article or story is good enough I’m sure they’ll make extra space for it,’ he (this unpublished writer) told me. Believe me, if you send a 5000 word piece to a publication which never publishes anything over 2000 words long, you’re just wasting paper. And time. And effort. And your breath.

But, read your target publication intelligently, and write something to suit their style, length, outlook on the world – and you’ve got as good a chance as the next man/woman (or, if that’s the man in the previous paragraph, an infinitely better chance.)

That was how I got my first piece published. It was in 1990. My children were aged four and six so I spent much of my time reading children’s stories. So I wrote a short story for one of their favourite comics, sent it off – and it was published. I even got paid for it – not very much, but I was highly delighted anyway.

So then I wrote lots more short stories for that and other kids’ magazines – and they were all rejected. I realised that it wasn’t always so easy to hit the mark. I needed to be more scientific about it. (Having said which, several years later, as an experiment, I sent one of those rejected stories off to the comic which had rejected it originally, not rewritten in the slightest – and it was accepted and published. So don’t underestimate the effect of luck, timing, the conjunction of the stars or the mood of the commissioning editor on a particular day!)

So, being a Taurus and therefore congenitally stubborn, I didn’t give up. The rejections just made me more determined to get my second piece in print. I signed up to do a writing course. Over the next several years I tried every genre going, from readers’ letters, to articles, to short stories, to novels, to radio and TV drama. I did my market research; I read, read, read; I wrote, wrote, wrote; submitted stuff to all the magazines that piqued my interest and many that didn’t; spent a fortune in competition fees… and gradually, I started to see some success. I had the odd letter published, and was rewarded with the occasional cheque, or ‘gift’ – his ‘n’ her rucksacks from a camping magazine was a good one; a bag of potting compost was less welcome – but the fact that I got a letter published in a gardening magazine, when the very thought of gardening makes my face (and not my fingers) go green, was some sort of victory, I felt.

I got a couple of highly commendeds in writing competitions, then won a money prize in another; I had my first article printed and paid for. All this time the rejections were far outnumbering the acceptances, but I kept slogging away in spite of them. My writing tutor said something which has been my guiding light for many years: ‘You’ve got the talent,’ he wrote, ‘but have you got the stamina?’

‘Yes!’ I snorted, horns down, pawing the ground, and storming towards that matador…

And slowly, gradually, as my writing and marketing skills improved, the acceptances became more frequent, finally outnumbering the rejections. The scatter-gun technique was replaced by a far more finely tuned, considered approach, as I learned where my strengths lay, played to those and searched out and stuck with those magazine editors who liked what I wrote.

Only then, once I’d got plenty of articles and short stories published, did I set my sights on writing a book. And this is a very important point, if you dream of having your name on a bookcover – don’t try to run before you can walk. Whether it’s a novel or a non-fiction book, publishers are unlikely to even consider your submission if you’ve never had anything published previously. You need to serve your apprenticeship on shorter pieces. Then they will take you seriously.

Equally, don’t aim at Time or The Times or National Geographic for your first pieces. Go for the smaller, local markets to start with, and build up gradually to the higher status publications.

Go on, you know you can do it. I know you can do it. But you’ve got to be in it to win it, as they say.

So, pick a magazine, or a local newspaper, read it cover to cover, then choose a suitable subject for a letter or a filler or an article or a short story. Now sit down and write it. Present it beautifully, double-spaced, spellchecked and punctuated correctly. Send it off.

Then pick another magazine and go through exactly the same process.

Repeat ad nauseum.

And as the rejections come through the letterbox, don’t lose heart: when you get something sent back, don't let it moulder in a drawer or on your computer. As soon as you can, find a new market for it, rewriting as necessary to suit the required length or style, then send it off again. Don't give up until you've exhausted all the possible markets. And keep your eyes open for new magazines or changes of editor/re-launches of longer-established ones.

And eventually, one day, you’ll get that first acceptance. If you have the slightest spark of writing talent, you will, I promise.

It isn’t easy, it requires commitment, hard work, stamina, persistence and stubbornness. Belief in your own work and unflappable optimism help too. But believe me, if I can do it, so can you!

Agents and Publishers

I've just received the sixth rejection of Waiting for Bloggo. All six from agents. The standard reply this time said, in essence: "Having considered it we're afraid we are not confident we could find you a publisher so we regret that we're unable to take the matter further."

Another agent replied: "... it's a clever idea but... " etc.

And that's fair enough, I suppose. Writing is simply a 'product' to be retailed no differently from any other, by and large. An agent will work closely with one or more publishers and there will be guidelines to be followed regarding next year's length, style, and genre - much like the fashion industry. And so, given that Bloggo certainly ain't a 'genre novel', the task of finding an agent or publisher to take a chance with it was always going to be a difficult one.

Hey ho! Many more to go at yet so we aren't in the least down-hearted. But for those of you aspiring writers who have never had anything published, you will need to bear in mind that even published writers who haven't acquired a household name will always struggle to get their work in print. The moral: have hope but don't have expectation!

There is always the option of setting up our own publishing company, of course. And that's more than a possibility. There's lots of good, non-genre stuff out there being written by talented people who, in truth, haven't a cat-in-hell's chance of being published. It would be nice, we think, to tap into that pool of talent and try our hand at publishing the books we like rather than that force-fed to us by the monopolising, large publishing houses. Hmmmmm...!

Saturday, February 25, 2006

To market, to market...

Here’s a selection of potential markets for writers: websites and newsletters which take contributions from or advertise jobs and competitions for freelance writers. They're a mixed bag: although some are free to subscribe to, some charge a fee, while others appear to be little more than a vehicle for trying to sell various products of supposed interest to writers. Within their pages you will find links to other writers resources, allowing you to build up your own favourites list.

E-zine Directory: www.web-source.net/web/Ezines/

Worldwide Newspapers: www.newspapers.com

Scribe & Quill: www.scribequill.com/

Writer Net: www.writernet.co.uk/

The Script Journal: www.scriptshark.com

Absolute Write: www.absolutewrite.com/

Scottish Screen: www.scottishscreen.com/

Literature Training: www.literaturetraining.com/

Writers Market: www.writersmarket.com

Worldwide Freelance Writer: www.worldwidefreelance.com

Journalism Online: www.journalism.co.uk

Scottish Playwrights Studio www.playwrightsstudio.co.uk/

Thursday, February 23, 2006

I Wanna Sell You A Story...

If you hope to get your short stories published, close analysis of your target markets is very important. It may go against the grain - fiction, after all, shouldn’t be ‘written to order’, it’s about the creative imagination, inspiration and originality. Isn't it?

Well, yes it is, but only up to a point. Appeal to your readership is just as important. And if your story will not, in the opinion of the editor, appeal to the readership of their magazine, you won't get it published. So market analysis is important, for small press magazines as much as women's magazines. It is possible to do it systematically, using a standard template for the purpose.

First, send off for the Contributor's Guidelines for your chosen magazine and study them carefully. Next read several issues of the magazine - most women’s or special interest magazines only publish one or two stories per issue and you can't get a full idea of their preferences on such a small sample. Then complete the following:

Name of publication:
Address:
Editor/ Fiction editor:
Fiction per issue: (e.g. 'Quick Fix' one-page story; 1 story with a `catty' theme; 6 horror/fantasy tales)
Any essential element of stories: (e.g. relevance to women's issues; must be about Scotland; should include a reference to steam trains)

Then, for each of the stories in the publication, complete the following:
Title:
Length:
Genre: ( twist-in-the-tale; mystery; Sci-Fi)
Type: (traditional; experimental)
Emotion: (humorous; sentimental; gritty realism)
Narrative: (first person; third person)
Viewpoint: (young female; elderly ghost; pet dog)
Proportion of dialogue to narrative: (50/50; 75/25)
Sexual explicitness: (on a scale of 0 - 10)
Portrayal of Violence: (on a scale of 0 - 10)
Strong language: (none; mild expletives; littered with obscenities)
Plot outline: (wife gets her own back on erring husband, man-meets-android and lives happily ever after; star-crossed lovers in suicide pact)

Then comes the easy part. Now you know the range of material published, plot and write your own story to suit the requirements of this particular market. Good luck!

First, catch your Literary Agent...

And so, there will be many people out there telling you that you too can be a published writer. Easy! Anyone can do it. In fact, anyone and everyone seems to be doing it all the time. Agents and publishers are awash with unsolicited manuscripts submitted by aspiring writers rattling away at keyboards all over the world. "He's not a photographer," goes the old saying, "he's a man with a camera!" Which, slightly amended, reads: "He's not a writer, he's a man with a computer!"

Everybody's got a digital camera, ergo...

Everybody's got a computer, ergo...

And this below is an example of one of the consequences:


"The Standen Literary Agency

We Are Seeking New Talent

The Standen Literary Agency is a dynamic agency based in London, that is looking for new and exciting talent.

Therefore, we are particularly interested in submissions from first time writers.
Literary/Commercial Fiction and Children's Fiction

We are interested in all works of Fiction and Children's Fiction (with the exception of children’s board books and illustrators).

Non Fiction

With regard to works of Non Fiction, please contact us to clarify whether we represent the subject matter covered by your work.

PLEASE NOTE: DUE TO AN UNPRECEDENTED VOLUME OF WORK - WE WILL NOT BE ACCEPTING ANY SUBMISSIONS FROM JANUARY 2006 UNTIL THE END OF APRIL 2006 - DURING THIS PERIOD WE WILL NOT BE ABLE TO RESPOND TO EMAIL OR TELEPHONE QUERIES EITHER. THEREFORE, PLEASE DO NOT SEND EMAIL QUERIES OR TELEPHONE US DURING THIS PERIOD. "



So, you can be as new and as exciting and as talented as you like... it's no guarantee that you will even make it to first base.

Charlie

Tin House

Worth checking out:

http://www.tinhouse.com/

It is published four times a year - January, April, July, October. They also sponsor a one-week Summer Writing Workshop that sounds like it would be an incredible experience. Faculty include Dorothy Allison and Aimee Bender (to mention only two) and special guests this year will be Lorrie Moore and Michael Ondaatje. The workshop is held on the campus of Reed College in Portland, Oregon - located on 100 acres of some of the most beautiful country in the world. Interesting.

Amy

1001 Matches


I picked up a book quite some time ago called The Writer’s Book of Matches: 1,001 Prompts to Ignite Your Fiction. It is a collection of “prompts” from the staff of Fresh Boiled Peanuts, a Literary Journal - http://freshboiledpeanuts.com/.

I think you can get a copy from Amazon.com for about $14 – even less if you don’t mind a used copy. At any rate, even though I admit the little book has been collecting dust in a large pile of other books I’ve been meaning to read – I do think the idea behind this collection of “idea triggers” is an interesting one.

The basic idea is – they give you a prompt – and you take it from there. “It’s been designed to function as both muse and exercise partner. To that end, you’ll find over one thousand writing prompts inside: moments of conflict, snippets of dialogue, or brief descriptions of unusual situations. Consider each one a “match,” a handy little tool whose sole purpose is to ignite an idea that turns into a pleasant, possibly roaring, literary fire.”

Might be fun to put a couple on the blog and see what folks come up with, as usual – there’ll be a hearty round of cyber-applause for anybody who posts their contribution.

Here’s the first prompt:

“Well, if you could accuse anybody of being downright evil, it would be him.”

Happy Matches –
Amy

Ask not what you can do for your agent...

Following closely on the heels of Charlie’s last post, looking before you leap into an agreement with a so-called “publishing house,” I’d like to leave a brief post about finding an agent.

If you are “lucky” enough to find an agent willing to represent your work, please be very careful and read the fine print on any contract you may be asked to sign. It is very common for agents to charge clients various “fees” for photocopying, courier service, long distance calls, as well as assorted office fees, etc. etc. etc.

Needless to say these fees could add up quickly – not to mention the “assorted office fees” could be down-right scary – what might that include? Non-dairy creamer for their coffee? Apricot facials for the front desk secretary? New carpet for the conference room?

It does appear that it is a common practice for agents to charge clients for certain things and this might be a trade-off you’re willing to accept to have a reputable agency assist you in getting published – just know what you’re getting yourself into before you sign a contract.

Amy

Wednesday, February 22, 2006

When trying to find a publisher..

When trying to find a publisher for your latest masterpiece, it's tempting to send off the manuscript to all and sundry. Before doing so, you might find it advisable to look quite hard at the publisher of your choice.

For example (and this is a company suggested by one of Nicki's students rather than one we are interested in for ourselves), there is Publish America, based in Maryland, USA. Their site can be found at http://www.publishamerica.com/facts/index.htm Their website copy is immediately attractive to the aspiring author.

An alternative view of this company can be found at http://www.badbusinessbureau.com/reports/ripoff104646.htm

Now, it is worth saying at this point that I have had no personal dealings with Publish America and the views expressed on both of these websites are their own, not mine. But it is clearly worthwhile sounding out opinion, good and bad, about any company you wish to have dealings with as you thrash around trying to get your work into print against all odds.

Just remember: it ain't easy!

Charlie

Unlucky in love?

I've started the process of looking for a publisher for Waiting for Bloggo. Covering letter, synopsis, foreword, first 10000 words on A4, single-sided, double-spaced + stamped and addressed envelope for reply. You know the sort of thing.

But now, it's possible, with one or two publishers and with three or four agents, to submit covering letter + synopsis by email. This is great. It means I can now receive more or less instant rejections. I am in favour of this system. I have already received 3 automatic response rejections and, as a result, am having a jolly good time feeling miserable about writing. Great!

And the feeling, as I knew it would be, is a bit like being rejected by a lover. The immediate consequence is a plunging of the spirit into despair followed by the inevitable:-

1 Why? Just tell me. Why? No, that's not good enough. Tell me again! I don't understand. Why?
2 If only I'd not used that word, that colon, that aftershave...
3 What could I have done to make it/me more attractive
4 Is it/am I so ugly?
5 Why take other submissions/lovers? What have they got that I haven't... etc?
6 You bastard!!!!!!!!!!!!!!!!!!!
7 Never again
8 I hate myself
9 I hate all publishers/women/men
10 I hate everybody
11 I wish I'd never been born
12 My mother was right
13 YOU BASTARD!!!!!!!!!!!!!!!!!!!!!!!!!!

I'll recover. It's OK. Don't worry. Time's a great healer. It doesn't really bother me. Not really. Honest. (Sob)

Charlie

Monday, February 20, 2006

Laugh and the world laughs with you...

Do not weep; do not wax indignant. Understand.
Spinoza

To live a creative life, we must lose our fear of being wrong.
Pearce


I’ll wait until the laughter dies down before I continue this post… Tra la la la la…

Mainly because, after reading the two quotes above, anybody who knows me well will be rolling in the floor, pointing a finger, snickering and saying, “If anybody in the world should heed such sage advice it is you, dear Amy, you, I say.”

And they’d be right. And that’s exactly why I posted the quotes.

Although I have finally given myself permission to start a journey toward a more creative life, it hasn’t been without much gnashing of teeth and clinching of fists – a feeling I can liken only to driving with the emergency brake firmly set.

To those of us, like myself, who are just beginning to understand the level of diligence and discipline required to be a writer it is absolutely necessary to come to terms with the balancing act required to be successful. By that I mean – yes, you must exercise a measured, steady level of self-control – write, write, write! But at the same time you must also come to terms with the idea that it shouldn’t be an out-and-out war or a knock-down, drag-out power struggle. It shouldn’t be viewed as an opportunity to constantly beat yourself into submission.

Basically what ends up happening – when you take the hard-nosed, tough approach with yourself, constantly worried if you’re good enough, constantly worried if you’ll be published, constantly worried if you’re doing it right, – is that you stifle that wonderfully individualistic internal voice that should be celebrated, expressed (as well as protected and treasured). You end up paralyzed. Stalled. Blocked. Frustrated.

So, write like there’s no tomorrow, but be gentle with yourself. Let go! And as the words start to flow you’ll gain more self-confidence. I’ll try to do the same.

Happy writing,
Amy

Sunday, February 19, 2006

Sunday Crazy Sunday

Sunday is a good day for a little Fitzgerald, don’t you think?

F. Scott Fitzgerald
Crazy Sunday

It was Sunday – not a day, but rather a gap between two other days. Behind, for all of them, lay sets and sequences, the struggles of rival ingenuities in the conference rooms, the interminable waits under the crane that swung the microphone, the hundred miles a day by automobiles to and fro across Hollywood county, the ceaseless compromise, the clash and strain of many personalities fighting for their lives. And now Sunday, with individual life starting up again, with a glow kindling in eyes that had been glazed with monotony the afternoon before. Slowly as the hours waned they came awake like Puppenfeen in a toy shop: an intense colloquy in a corner, lovers, disappearing to kiss in a hall. And the feeling of “Hurry, it’s not too late, but for God’s sake hurry before the blessed forty hours of leisure are over.”

Saturday, February 18, 2006

Technical Writing

I understand that we are all different, each with our own special talents and preferences and areas of expertise. Thus it should come as no surprise to me that some folks have an out and out phobia of writing… just as I have nightmares about long division, homomorphisms, quotient groups, isomorphism theorems and other assorted algebraic mind torture.

But even though I would rather listen to somebody rake their fingernails across a blackboard rather than rhythmically chalk-out a linear equation – I still have the ability to quickly grasp complex technical data in such a way that I am able to wrap it all up in a nice, neat package and present it convincingly, persuasively, clearly and in a manner that pleases both layman and expert alike.

If this sounds interesting to you or if you’ve ever read a technical document (even something as benign as instructions for putting together a swing set or bicycle) and thought – HEY, I could do this better… then maybe you should consider a career in technical writing.

I have nine years of experience in a heavily industrial occupation and although my job title never officially read “technical writer” once folks realized that I could coherently string a sentence together they locked onto me like oh so many satellite tracking devices. I was given one project after another – including writing monthly reports for the ‘higher-ups’ – folks who supposedly shouldn’t be intimidated by punctuation and grammar. But nonetheless I jumped on each and every opportunity in which I could flex my “writing muscle” because, in such an industrial setting, I found myself starving for a creative outlet – even if it was only office correspondence, manuals, proposals or specification analysis.

So, consider this – if you have a knack for understanding technical data; if you enjoying learning ‘how’ things work; if you can write clearly and concisely; if you can work with many different types of people; if you are good at multitasking then technical writing may be right up your alley. Hone in on your areas of expertise, brush up on your desktop publishing skills and get out there and make some waves!

Lions, Tigers, Bears and Editing - Oh My!

I admit it! I’ve been laboring under a romanticized notion of what it is like to write a novel and send it out into the big, wide world for possible publication.

As some of you already know, I’ve recently completed my first novel called Waiting For Bloggo which is a collaborative effort with Charlie. The project has proven to be wonderfully experimental in that we have co-authored a novel length work using the Internet, in particular the blog platform, not only as a means of immediate communication from 4000 miles away – but also the technology itself , blogdom – became an integral character in the story.

As I typed the last word of the last sentence of the last paragraph, I sighed one of those relaxed, smug, overly confident sighs. One of those self-gratifying, gratuitous sighs – feeling very haughty and full of myself – one of those, “well, I’m glad that’s over with sighs.” Charlie laughed at me, albeit gently… which, by the way, he did quite frequently during the process.

“Over? Over? It’s only just begun,” Charlie said. And hours and hours and hours into the subsequent editing process when I found myself sufficiently distraught and distracted and curiously fixated on the notion of how long it would take me to bleed to death from a self-inflicted paper cut…I understood exactly what he meant.

For starters, my first overly sentimental misconception was rooted firmly in the idea that the hard part was actually sitting down to write the thing! Now, admittedly, I struggled with that part as well. I threw a few “wobblers” as Charlie called them and I believe once or twice he made the comment that getting me to sit down and write was comparable only to trying to drag a furious cat across a thick carpet. But it was during this tug-of-war process that I realized, although it is difficult to sit down to the task at hand, it is really all about self-discipline, plainly and simply.

Ironically enough, it turns out – in my case, at least – that the hardest part isn’t actually writing – it is editing! I kid you not, and Nicki can attest to this, Charlie and I spent endless hours going over and under, in and out, backwards and forwards through the manuscript. We basically approached the editing process with the following five-pronged game plan:

1. Editing for basic inconsistencies in the story.
This was an important first step for us because Waiting For Bloggo was indeed an experimental process in that it evolved organically and without any set notion or intent on our parts to drive the story in any particular direction. The plot actually revealed itself to us at virtually the same time it was revealed to the reader – in a post by post pulse that sent us spinning off in many unexpected directions. So necessarily there were a few inconsistencies we needed to straighten out as a consequence when it did become clear how the story was going to “play out.”

2. Editing for basic spelling, grammatical and formatting errors.
This was perhaps the most tedious of “run-throughs” in that it required extremely close reading – and not for pleasure’s sake either. Even though we were confident we’d hit the high points and caught all the mistakes – each and every subsequent edit we found yet more pesky little changes which were required. And I am certain – if I were so inclined to pick it up and pour through it again – I would find more.

3. Editing for content.
This was the most enjoyable part of the editing process in my estimation, for Charlie and I actually took the time to read the whole of Bloggo via webcam. It was a big thrill for us to hear it read aloud and provided a fantastic opportunity to pick out sentences which fell flat and to amend posts to our satisfaction.

4. Editing – third party.
During this phase we donned our bravest of brave faces and handed the manuscript over to Nicki and her red pen. And it proved to be an absolutely vital stage in the editing process, in my estimation. It gives the writer an opportunity to “get over themselves,” so to speak. Accepting constructive criticism from a third party who can take a step away from the work and give an objective, knowledgeable opinion is of paramount importance.

5. Editing – final stage.
Last, but not least, the final amendments were made per Nicki’s suggestions; final formatting and pagination was completed in a Word document and we made certain it was as nice and neat and eminently presentable for any publisher we might be able to cajole into reading it.

We wrote a foreword, a synopsis and various and sundry cover letters – as appropriate per various submission guidelines – and now – it is a waiting game. Now we are officially Waiting For Bloggo.

And now I can actually sit back and breathe that sigh of relief, that sigh of satisfaction – but not without the knowledge that, during my first experience in writing a novel length work, I’ve learned so much and have been able to dispel some of the misconceptions and romantic notions I was harboring about a writer’s life and the writing process. It’s hard work. And, I imagine that if we do have interest from a publisher the editing process will swing into effect yet again. I’m ready for it this time though. And hard work or not, tantrums or not, driving Charlie mad enough to seek comfort in tasty pineapple danishes or not – I loved it!

Friday, February 17, 2006

Open The Box

Looking for an interesting way to structure your story? Why not take a leaf out of the book of one of the world's most effective storytellers?

I am taking about Scheherazade whose narrative skills, in The Arabian Nights, saved her from death at the hands of Shahriar who had the nasty habit of having his wives strangled at breakfast time. Scheherazade so enthralled him with her inexhaustible stock of stories that he eventually lifted the death sentence in gratitude for the pleasure she gave him.

Scheherazade managed this feat by structuring her stories in a cunning way. The tales are 'nested' one inside the other, in the manner of a set of Chinese boxes, where an ornate box is revealed to contain another within it, and yet another within that.

Her story of the fisherman breaks off midway when the fisherman begins the tale of a Grecian king and his physician. This story is just developing nicely when the Grecian king's vizier takes it upon himself to tell the tale of a husband and a parrot. And before that is completed the vizier goes off at a tangent to tell yet another story. Shahriar is left on tenterhooks each night, waiting for the denouement of not one but several stories.

The tales are themselves nested within the outer framework of Scheherezade's own story which ties neatly together what would otherwise be a motley assemblage of short stories. A similar approach is taken in Chaucer's Canterbury Tales. The Chinese box structure is not only useful for short story collections, however. Novelists are fond of the technique to produce a variety of effects.

When you think about it, Scheherezade's approach is not an unnatural way to tell a story. Consider how we recount an incident. We get distracted and led into diversions which are peripheral to the main thrust. Part of the reason is explained by Italo Calvino in ‘If on a winter's night a traveller’:

‘---around the story (there is) a saturation of other stories that I could tell and maybe will tell or who knows may already have told on some other occasion, a space full of stories that perhaps is simply my lifetime, where you can move in all directions, as in space, always finding stories that cannot be told until other stories are told first...’

This novel takes the Chinese box approach to its extreme. In it, the reader is led through sections of ten different novels, all of which are embedded in the outer plot of the narrator trying to solve a literary mystery.

Calvino takes us through a maze, which frustrates and yet intrigues. We have to follow where he leads, we cannot put the book down until we have reached the end in the hope of finding an explanation. A cunning writer's trick, this, to keep his readers hooked.

But the end of the novel proves not to be an escape from the trap because it is impossible to tell where the truth lies. Sally Beauman in ‘Dark Angel’ also uses a nesting structure to raise questions about truth. Its heroine, Victoria, tries to find out the truth about incidents in her godmother's life. Extracts from her godmother's journal are interwoven with other people's interpretations of the same events. We are never certain who, if anybody, is telling the truth because they all have things to hide. The letter sent with the journals hints at the mystery to come:

‘My dearest Victoria,
Are you sitting comfortably? Good. Then I shall tell you a story - a story you
think you already know. It is about Winterscombe, your family, your parents and me. It is also about a murder - is it a murder? - so pay attention as you read. I should hate you to miss the vital clues.’

The complex structure of the novel, which jumps about in time between different people's versions of the same events, interweaves past, present and future. Each person's story affects all the others and past events affect their futures. We read several separate stories but discover, finally, they are all the same story.

Wherever the narrator of a novel is a character within the novel, questions of fictional truth are never straightforward. How does the reader know whether the narrator is reliable? A skilful novelist can use this ambiguity to good effect. Joseph Conrad's ‘Heart of Darkness’ employs the seaman Marlow, a practised yarn-spinner, to tell the tale of an enigmatic figure called Kurtz:

‘The yarns of seamen have a direct simplicity, the whole meaning of which lies within the shell of a cracked nut. Marlow was not typical ... and to him meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a gIow brings out a haze, in the likeness of one of those misty halos that sometimes are made visible by the spectral illumination of moonshine.'

This comment obliges us to take account of Marlow's presence in the story of Kurtz. We must remember that Marlow is the narrator of the story, that we read only his interpretation of Kurtz's character. Because we cannot necessarily rely on this interpretation, the story is less straightforward than its simple two-box structure suggests.

‘Mr Kurtz lacked restraint in the gratification of his various lusts... It echoed loudly within him because he was hollow at the core.’

This is Marlow's belief – but is it Conrad's? Does the novelist wish the reader to draw other conclusions? I think so. Marlow applies European standards to Kurtz's actions in the African jungle and con-demns him for shedding his morals. But the Africans appear to take a different view; they revere Kurtz as a leader. Kurtz has discovered that morals are irrelevant because life has no central meaning. It is rotten at the core, totally hollow. ‘Heart of Darkness’, then, is a set of Chinese boxes with nothing in the central box. Hollow at the core, dark at its heart, like Kurtz, like the jungle, like life itself.

Kurtz is out of step with the rest of the civilised world and the distancing effect produced by telling his story through a fictional narrator reflects his alienation. Horror stories often achieve their unsettling effects by exploiting feelings of mystery and alienation.

R.L. Stevenson's ‘Dr Jekyll and Mr Hyde’ is told through the interlocking revelations of four different narrators who are kept in the dark until the last moment. We are held in suspense along with them.

'Well,' said Enfield, 'that story's at an end at least. We shall never see more of Mr Hyde.'

This comment occurs only halfway through the story. Enfield soon discovers there are further and grislier revelations to come. If the author were the narrator, it would be clear he must know the entire course of events at the outset and it would not be possible to build up tension in this way.

In ‘The Turn of the Screw’, Henry James also employs a fictional narrator. He tells a story related to him by a third party, Douglas, who himself took the details from a written account by a wit-ness of the strange goings on. James builds up suspense from the outset with a lengthy prologue which sets the scene, a Christmas houseparty where fireside ghost stories are being told, and delays the beginning of Douglas's promised ghostly tale.

‘The departing ladies [were] in a rage of curiosity ... produced by the touches with which he had already worked us up.’

Intrigue is not lost once the story is begun. Because it is filtered through several narrative layers the reader is never quite sure whether there is a rational explanation of events. This is entirely appropriate in a novella dealing with supernatural phenomena which cannot be satisfactorily explained away.

Interestingly, in ‘The Turn of the Screw’, the outer box is incomplete. We do not return to the outer framework, the houseparty, once the central story reaches its conclusion. This is a deliber-ate ploy, so that the supernatural horror is not diluted by a return to the prosaic.

From horror stories to a love story, albeit one with its fair measure of disquiet. The events of ‘Wuthering Heights’ are narrated by Lockwood, who repeats what Nelly Dean relates to him, often in the exact words of the protagonists. So each event is contained in the central of three Chinese boxes. The distancing effect of this plus the intermixing of the Earnshaw, Linton and Heathcliff families over three generations, give this melodramatic novel the confused, hazy atmosphere of a bad dream. The repetition of names across the generations blurs the distinctions between them and thus between past and present.

‘It was named Catherine; but [Edgarl never called it the name in full, as he had never called the first Catherine short. probably because Heathcliff had a habit of doing so. The little one was always Cathy; it formed to him a distinction from the mother, and yet a connection with her; and his attachment sprang from its relation to her, far more than from its being his own.’

Finally, a work where the Chinese box technique is used to humorous effect. ‘The Life and Opinions of Tristram Shandy’, written by Laurence Sterne in the 18th century, plays around with the conventions of the new novel form. In effect, the entire novel is a digression. It follows one route for a while, only to be sidetracked into a diversion brought about by the connection of ideas which itself is halted, in the middle of a sentence, for an anecdote unconnected with the main plot (such as it is) other than by word association.

Sterne constantly teases us, leading us up garden paths and down blind alleys. ‘Tristram Shandy’ finishes, not surprisingly, in mid-air, during yet another apparently irrelevant anecdote. The joke that has been played on the reader is made clear in the last lines:

‘L-d! said my mother, what is all this story about?-
A COCK and a BULL, said Yorick - And one of the best of its kind, I ever heard.’

In these examples the Chinese box structure is used variously to arouse mystery, suspense and horror; to draw comparisons and contrasts between different events; to provide different viewpoints on a single event; to provoke a feeling of distancing and alienation, and to amuse. If you are aiming at any of these effects, why not open the box?

Thursday, February 16, 2006

Interesting Stuff

A bit of a cheat this post - but very useful, none the less. The following email from The New Writer magazine arrived in my inbox today, and it struck me as so packed with useful stuff (yes, Charlie, stuff, stuff, stuffff!) that I thought I'd pass it on in its entirety. Loads of potentially interesting and useful links for budding writers. I make no apology for the fact that it's very UK biased - this makes a change, as most of the writers' newsletters I subscribe to are from the US! However, even for our international readers, there are plenty of opportunities here for you too.


The New Writer magazine is 10 years old this year. First published in July 1996 the 77th issue is due out next month.

To mark this anniversary we are offering £2 off an Annual Subscription to the magazine between now and 31 March 2006.

Either send cheque/postal order for £25 (UK only) made out to The New Writer to PO Box 60, Cranbrook, Kent TN17 2ZR or complete the form online at http://www.thenewwriter.com/subscribe.htm
and type "Email Special Offer" in the Comments box at the end. We will then start your sub with the current issue.

For a Free Recent Back Copy of the magazine either send 3 First Class Stamps (or 5 IRCs if overseas) or an A4 SAE stamped at 71p to The New Writer, PO Box 60, Cranbrook, Kent TN17 2ZR.

We provide a Monthly Email News Bulletin in the subscription package at no extra cost to subscribers, see below for sample...


TNW NEWS

February 2006


HEADLINES

A novel in a year
There's no trick to becoming a novelist, no easy way to land a publishing deal. It involves a lot of hard work, but acclaimed novelist and broadcaster, Louise Doughty, shows you how, in just 12 months. Catch up with the first few weeks of her Saturday Telegraph column at www.telegraph.co.uk/novelinayear
On the matter of first sentences, she explains how - humour is a fine line. "The day after my eighth birthday, my father told me I was now old enough and ugly enough to realise that I was asking for trouble if I set light to my brother's trousers while he was still in them." And two she did like, "The day after my eighth birthday, my father told me he had found me a husband." and - Simplicity always stands out. Nick Green kept it simple, and cleverly tackled the question of why a child should remember something said the day after a birthday: "The day after my eighth birthday, my father told me why it had slipped his mind."

Search is on for Budding Screenwriters
Horror is one of the most enduring of cinema genres but the number of films being put into production in the UK in this genre, does not necessarily reflect this. With the aim to develop and foster new screenwriting talent, Golconda Films in association with The Script Factory, are holding a feature film screenwriting competition. Golconda Films Horror Screenwriting Competition is aimed at new screenwriters who have never sold or had a feature film screenplay optioned. The winner of the prize will receive a £1,000 advance on a script option to make a horror film. The two runner-ups will be placed on a one-on-one script development program at The Script Factory. Closing date 17 March. The winners will be selected by a judging panel including Gregory Mackenzie and Brett Walsh from Golconda Films, Ludwik Smolski from The Script Factory, the actor James D’Arcy and The Times film writer and critic, Wendy Ide. No entrance fee and open to all residents of the United Kingdom, European Union and any Commonwealth Country. For more information on the rules and requirements go to www.golcondafilms.com/competion or www.scriptfactory.co.uk

Kelpies Prize
The deadline for the 2006 Kelpies Prize, an annual award for children's writing, is coming up - Tuesday 28 February. The prize is £2,000 and a publication deal, with the winner announced at the Edinburgh International Book Festival in August. The Kelpies Prize is open to all ages, professions and nationalities. All entries must be original, unpublished prose of 40,000 to 60,000 words in length and must be set in contemporary Scotland and should be suitable for both girls and boys aged 9-12.
Full details, including submission guidelines and application form, are available online at www.florisbooks.co.uk/kelpiesprize

London Book Fair unveils Masterclass experts for 2006
Designed to create a focus on creative writing for the general public and to complement the business of the Fair, the events will take place on Saturday 4 March at ExCeL London Docklands and will feature leading names from the world of contemporary fiction, scriptwriting and children’s publishing.
How To Write For TV/Film 10.30am - 1.30pm
Christopher Hampton, the critically acclaimed writer-director, best known for his play Les Liaisons Dangereuses and its Oscar winning film version, Dangerous Liaisons, will share his experience and expertise at the first LBF Masterclass of 2006. He will be joined by the award-winning writer, Tim Firth, whose feature film Calendar Girls went on to become one of the UK’s top ten grossing British films of all time. Fellow scriptwriters, Deborah Moggach, whose work includes Working Title’s Pride and Prejudice, and Amy Jenkins who devised and wrote the popular BBC2 television series This Life, will also share their unique blend of talent.
How To Write Contemporary Fiction 1 10.30am - 1.30pm
Margaret Atwood is the author of more than thirty internationally acclaimed works of fiction, poetry and critical essays. Margaret’s tenth novel, The Blind Assassin won the prestigious Booker Prize and was shortlisted for the Orange Prize. Margaret will be joined by Joanna Trollope, the author of eleven bestselling contemporary novels which include Next of Kin, Marrying the Mistress, The Best of Friends and A Spanish Lover, and another leading figure from the world of contemporary fiction, yet to be announced.
Writing For Children 1 1.30pm - 5.30pm
Philip Ardagh is a bestselling children’s author whose books have received widespread international acclaim. His bestselling Eddie Dickens trilogy is currently being developed for a proposed series of feature films by Warner Bros. Philip will be joined by the multi-award winning children’s author, Geraldine McCaughrean, whose novel Not the End of The World won the 2004 Whitbread Children’s Award; Meg Rosoff whose debut novel How I Live Now won the Guardian Children’s Fiction Prize and Siobhan Dowd, the Deputy Editor of PEN International whose debut novel, A Swift, Pure Cry will be published in March 2006.
How To Write Contemporary Fiction 2 1.30pm - 5.30pm
Monica Ali’s debut novel Brick Lane was shortlisted for the Man Booker Prize for fiction in 2003. The novel went on to become a #1 bestseller in hardback and was on the Sunday Times hardback bestseller list for 27 weeks. Monica has been nominated for most of the major literary prizes in Britain and was included as one of the Best of Young British Writers of the Decade by Granta magazine. Monica will be joined by Orange Prize winner Helen Dunmore, who has published six novels including Zenner in Darkness, A Spell of Winter and The Siege, and novelist Hari Kunzru, the author of the award-winning title The Impressionist.
London Book Fair Masterclasses take place in the Platinum Suite of ExCeL London, One Western Gateway, Royal Victoria Dock, London, E16 1XL. The cost of each is £25 or £45 to attend two classes. To book by credit card visit www.lbf-events.com To pay by cheque send the full amount made out to London Book Fair to Angela Pederzolli, London Book Fair, Oriel House, 26 The Quadrant, Richmond, Surrey TW9 1DL.

Poetry-next-the-Sea 2006
There’s a marine flavour to Poetry-next-the-Sea (27 to 30 April), the poetry festival held within spitting distance of the quay at Wells-next-the-Sea, Norfolk. Among those offering readings, workshops and discussions are John Burnside, Penelope Shuttle, David Constantine, Esther Morgan, P.J. Kavanagh, Ann Drysdale and Caroline Gilfillan. The programme also features a short history of sea shanties, a voice workshop, school poets, a significant craft exhibition, an introduction to the Poetry Archive, a Poetry Vending Machine, and an open-mic fringe session overlooking the harbour and salt marshes. Wells is an exquisite little town: you can walk everywhere and the pubs and restaurants are excellent. An unmissable festival in unbeatable surroundings. Box office and information: www.poetrynextthesea.com
email enquiries@poetrynextthesea.com, or telephone Helen Flanagan on 01328 710193.

The Writers' Summer School 2006
is to be held from Saturday 12th to Friday 18th August at The Hayes Conference Centre, Swanwick, Derbyshire. For more information see http://www.wss.org.uk and send an SAE for an application form to the Secretary, Jean Sutton, 10 Stag Road, Lake, Sandown. Isle of Wight PO36 8PE.

Words by the Water
10 to 19 March. Theatre by the Lake in Keswick, Cumbria is the centre for this exciting literature festival organised by Ways With Words. For 10 days writers and readers get together to share the pleasure of books, words and ideas. George and Diana Melly, Joanna Trollope, Sara Paretsky, Penelope Lively and loads more interesting writers.
http://www.wayswithwords.co.uk/cumbria.html

The fourth Harrogate Crime Writing Festival will take place 20 to 23 July featuring P.D. James, George Pelecanos, Ian Rankin, Mark Billingham, Martina Cole and Val McDermid. http://www.harrogate-festival.org.uk/crime/


For a full A-Z of literary festivals in the UK visit
http://www2.britishcouncil.org/home/arts/arts-artforms/arts-literature/arts-literature-uk-and-overseas-events/arts-literature-festivals-uk.htm

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COMPS & CALLS FOR SUBMISSIONS

Swanley Scribblers Writing Competition
Write a story maximum 1500 words, or poem up to forty lines.
Prize Money: Short Stories: First £50.00. Second £25.00. Third £15.00.
Poetry: First 25.00. Second £15.00. Third £10.00.
Entry Fee:£4.00 per item Short stories. £3.00 per item Poetry.
Competition closes 28 February.
For entry form email: swanscribblers @aol.com
or send SAE to: Bobtails, Oliver Road, Swanley, Kent BR8 7DY.

My Life as an Opera
Win £50 for your True-Life Story, then see it turned into a Mini-Opera or Micro-Musical. Springtide Community Music Theatre, based in Teignmouth, Devon, is running a unique, free-to-enter competition that could see an incident from your own life turned into a 10-minute piece of music theatre. All you have to do is submit a short account of an incident from your own life in no more than 250 words. Your story won’t be judged on literary merit, but rather on its originality and its suitability as the basis for a miniature piece of music theatre.
“We’re looking for a brief moment from someone’s life it could be scary, funny, dramatic, touching, tragic or enlightening” says David Haines, Springtide’s resident composer; “just tell it in your own words. It might be a flash of understanding, or a turning point; a moment of triumph, or one of failure. But it has to be a story that has the potential to be played out in 10 minutes by a cast of one, two or three people.”
Six stories will be chosen, and the winners will each receive a £50 cheque and free tickets to see the show scheduled for premiere performances during November 2006. You’ll retain the copyright to your story but agree to Springtide publishing it in programmes and using it in publicity. There is no lower or upper age limit, though Springtide do ask people to send in only one entry per person. Entries cannot be returned and only the winning entries will be acknowledged. You can enter by sending your story (typed or printed) to: My Life As An Opera, 88 Higher Brimley, Teignmouth, TQ14 8JU, or submit it as an e-mail (not an attachment) to:
MyLifeAsAnOpera@aol.co.uk quoting “Competition Entry” in the subject line.
Closing date for receipt of entries is 28 February and the six winners will be announced by 31March. However you submit your entry, send your contact details including postal address, telephone number & email address if you have one. My Life As An Opera is supported by generous grants from Awards for All and Arts Council England, South West.

The Windsor Fringe Marriott Award for New Drama Writing
Amateur playwrights are invited to submit unpublished one-act plays for the third £500 Windsor Fringe Marriott Drama Writing Award. Three winning scripts will be selected for performance during Drama Nights at the Windsor Fringe in September/October. One of the three scripts will be chosen for the £500 prize. Submissions must be received by 2 March. Only amateur playwrights are eligible; only one script per author will be accepted. Each play must be an original work by the entrant, and submitted scripts must not have been previously published or performed. Each play must be no more than 30 minutes long, have a cast of no more than six actors, and be suitable for staging in a studio theatre.
Submission guidelines
So that each script may be judged anonymously, the author’s name must appear on the cover page only, not in the script. Writers should submit two copies of their plays, printed on loose sheets of A4 paper with no binding or stapling. Pages must be numbered. No submissions will be accepted by fax or email; no scripts will be returned. The cover page must show the name of the play and the author’s name, contact details and signature. All submissions will be evaluated by reader groups, and the final selection judged by our judges, which will include Fay Weldon, one of Britain’s most influential and versatile writers. A £5 reading fee will be charged per entry. Please make cheques payable to Windsor Fringe Festival. Scripts should be sent together with the reading fee to Windsor Fringe Marriott Drama Writing Award, Suite 640, 24-28 St Leonard’s Road, Windsor, Berks SL4 3BB. For additional information: Ann Trewartha tel: 01753 863218 ann.trewartha@btinternet.com www.windsorfringe.co.uk

The Academy of Children's Writers
21st annual Write a Story for Children competition. Entrants must be over 18 and unpublished. First prize of £2,000, and second and third prizes of £300 and £200 respectively. Closing date 31 March; entrants will be informed of the winners by the end of May. For entry forms and details, send SAE to: Write a Story for Children Competition, Academy of Children's Writers, PO Box 95, Huntingdon, Cambridgeshire, PE28 5RL. Email per_ardua@lycos.co.uk

Boost 4 Writers
Announces a Writing Contest in 2006 for Writers of Children’s Literature
www.boost4writers.com Category: Short Story/Picture Book (ages 6-9), Word Limit: Up to 800 words, Submissions: Limited to writers age 18 years or older, Entry Fee: $10.00 (US) per manuscript, 1 January through 10 April, Winners announced 1 May.

Writers Inc Writers-of-the-Year Competition 2006
Closing date 10 April. Thirteenth annual competition welcomes prose and poetry in all styles, forms and subjects, in four categories: Poems, Extended Sequences of Poems, Short Stories, Writing for Children. Up to £2,500 in prizes. Full details at the website http://www.writersinc-london.org.uk/competition.html

Momaya Press's Short Story Competition
is open to writers of any nationality writing in English, and also offers the opportunity for winners to be published, in the Momaya Annual Review 2006. Prizes: $200 (£130) first, $100 (£65) second, 8 honourable mentions. All ten winners will be published. Closing date 30 May. All you need to know at http://www.momayapress.com/contest.htm

Iota Annual Poetry Competition
First prize £100, 2nd £50, 2 x £25. Winning poems to be published in iota and on its website. No line limit. Deadline 15 April. Entry fee: £2 per poem. Iota subscribers: free entry for two poems (£2 per subsequent poem). To enter please write name, contact details and poem title(s) on a separate sheet and send with poem(s) and a cheque/PO (if appropriate) made out to iota to: 1 Lodge Farm, Snitterfield, Stratford-on-Avon, Warwickshire CV37 0LR. For further details visit www.iotapoetry.co.uk

Women's Poetry Competition 2006
1st Prize £1000; 2nd Prize £500; 3rd Prize £250; 22 other finalists will win £25 each. Judge: Wendy Cope; Closing date 28 April; Entry Fee: £5 for up to 5 poems; Email poetry@mslexia.demon.co.uk for guidelines or ring 0191 2616656. www.mslexia.co.uk

New Writing 15
The latest in the long-running anthology series from the British Council. Writers from, or resident in, the UK and the Commonwealth are encouraged to submit short stories, poetry, literary essays, memoirs, biography and fiction. This could be an extract from a work in progress. Submissions deadline 30 April. The work must be unpublished and not be due for publication until at the earliestSeptember 2007, and the author should be willing to give the British Council non-exclusiveelectronic rights for 2 years following publication, plus translation rights and other sub-rights to be confirmed. Guidelines at
http://newwriting.britishcouncil.org/about/submissions/

Ware Poets Open Poetry Competition
Closing date 30 April. Prizes: £500, £200, £100 plus The Redwing Sonnet Prize of £100 for the best sonnet. Sole Adjudicator: George Szirtes. Up to 50 Lines. Entry Fee £3 per poem, £10 for four. SAE for details to The Competition Secretary, 48 Highbury Road, Hitchin, SG4 9SAor e-mail: warecomp@waitrose.com

Down To Earth
is the theme for the Lymm Lines writing competition 2006. Poems not exceeding 32 lines and short stories (1000 words max.) are invited from writers over 16 years for a fee of £3 per entry. Separate competition for under 16s with a £1 fee. Closing date 1 May. Prize money of at least £300 will be shared between winners, whose entries will also be on display during Lymm Festival Week in June. SAE for full details, rules and entry forms to Down To Earth, c/o 39 Fairfield Road, Stockton Heath, Warrington, Cheshire, WA4 2UR.

Partners 21st Open Poetry Competition
Closing date 1 May. First prize £300, second prize £100, third prize £50 and all with publication by Partners. Entry fee £2.50 per poem. For further information SAE to Partners: 289 Elmwood Avenue, Feltham, Middlesex TW13 7QB.

Swanwick Competition
A free place at this year’s Swanwick Writers’ Summer School (12 to 18 August) is the top prize in three writing competitions: (a) a short story of up to 1,000 words on any subject or theme (open to any previously unpublished writer); (b) a sonnet on the theme of ‘friendship’ (open to anyone who has earned less than £1,000 from their poetry writing in the last two years); (c) the first 1,000 words of a children’s novel aimed at 7-12 years (open to anyone who has earned less than £5,000 from children’s writing in the last two years). Closing date 8 May. Guidelines at www.wss.org.uk

The Virginia Warbey Poetry Prize
A new poetry prize in memory of Virginia Warbey who died in a car accident in 2004, aged 35. A valued member of Chandler’s Ford Writers, Virginia won prizes in many poetry competitions including the prestigious Petra Kenney. This will be an annual open poetry competition for adults with the following prizes: First Prize £750, Second Prize £300, Third Prize £150, 10 Runner-up Prizes of a year’s subscription to Acumen. Judges: UA Fanthorpe and RV Bailey. Closing date 19 May. Entry Fee: £3 per poem (5 poems for £12). http://www.poetrypf.co.uk/prvwarbeypprize.html#CWF

Novel Writing Award
£500 + publishing contract for first novel. Entries by post + SAE. Submit first 10,000 words, typed, double spaced; mark each sheet with nom de plume & working title Separate sheet with name, address, email, working title, nom de plume. Deadline 30 June. Entry - £20 per novel.
Jan Fortune-Wood, Cinnamon Press, Meirion House, Glan yr afon, Tanygrisiau, Blaenau Ffestiniog, Gwynedd, LL41 3SU. http://www.cinnamonpress.com/

Poetry Collection Award
£100 + publishing contract for first collection. Best poems will be selected for an anthology. Entries by post + SAE. Submit ten poems; any style to 40 lines; mark each poem with nom de plume & collection title. Sheet with name, address, email, collection title, nom de plume. Deadline 30 June. Entry - £16 per collection, including a free copy of the winners anthology, worth £7.99. Jan Fortune-Wood, Cinnamon Press, Meirion House, Glan yr afon, Tanygrisiau, Blaenau Ffestiniog, Gwynedd, LL41 3SU. http://www.cinnamonpress.com/

Call For Submissions For Women Writers
Getting Even: Women’s Tales of Revenge - anthology edited by Mitzi Szereto, to be published by Serpent’s Tail.
The “fairer sex” - we’ve all been screwed over in one way or the other, with the screwers often walking away unscathed. Old story, right? But what if FOR ONCE the “unfair sex” (and even some of our own) actually got what’s coming to them? Lover, husband, husband’s bit on the side, boss, child minder, neighbour, loan officer, auto mechanic, milkman, whomever. Ladies, it’s time to settle the score! Who says revenge ain’t sweet?
Stories can be of any length, but try tokeep under 9,000 words, may be of any sexual orientation, unpublished material only. Deadline 1 August.
Submission requirements:
Submit stories in hard copy, double-spaced (with a Windows-compatible file available on request). Manuscripts not chosen will be discarded, so do not send your only copy. Include with your submission a brief author bio and your email address. Please do NOT submit stories by email unless I request it. For queries/postal information, contact: worddabbler@yahoo.com

Legend Writing Award 2006
Short stories (no set theme) up to 2000 words. Six cash prizes: £500, £150, £150, plus3 x £50. Entry fee £5. This competition particularly aims to encourage newshort story writers in the UK. It is organised by Hastings Writers' Group and judged by author David Gemmell. Rules/entry form available from website: www.legendwritingaward.com or send SAE to LWA, 39 Emmanuel Road, Hastings TN34 3LB. Closing date 31 August.

Poetry Library
Check out all the current UK poetry competitions at http://www.poetrylibrary.org.uk/competitions/

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SNIPPETS

Writers' worksheets to help streamline those ideas and turn them into first time saleable work. No hassle. Raylia Chadwick MA (Lit) is an international writer of features and articles and an experienced writing workshop leader. For details email rayliachadwick@writenow.co.uk

Short story writers (and readers), please visit www.theshortstory.org.uk for news, views and information about short stories. Includes a comprehensive list of UK magazines that publish short stories. Plus up to the minute news on The National Short Story Prize. Shortlist announced April 2006, winner 15 May 2006

New publisher Myrmidon Books welcome new and original submissions from first-time writers. They do not currently publish non fiction or children’s books but are especially interested in contemporary thrillers, historical fiction and literary novels. Also horror, science fiction and fantasy genres but likely to publish such work after 2007 and under a new and separate imprint. More at http://www.myrmidonbooks.com/

QWF Magazine - Issue 49 out now! Special reduced price for TNW readers of £3.50 - a saving of 70p. Cheques to QWF, PO Box 1768, Rugby CV21 4ZA.

Southern Writers' Conference, a residential weekend (June 9-11) near Chichester, open to everyone serious about writing. Speakers include Sandi Toksvig and Penny Jordan. See www.southernwriters.co.uk for details and recent updates.

Nick Corder’s article on his experience of an MA course in Creative Writing appeared in the Nov/Dec issue of The New Writer. If you would like a copy of his comprehensive listing of courses available around the UK just send an email to admin@thenewwriter.com typing “Creative Writing Courses” under subject and we’ll send you Nick’s very useful research.

National Association of Writers’ Groups
Do you belong to a writing group? Are you a short story writer, a novelist, a playwright, a poet ora non-fiction writer? Then there's something for you on the NAWG website. Read about our Competitions, our Festival of Writing, and our Link magazine. You can see if there is a writing group in your area. The National Association of Writers' Groups has something for everyone who writes. www.nawg.co.uk

WANT TO WIN? NEED THE KNOW-HOW? IT’S A MUST- HAVE. COMPETITIONS BULLETIN. Details of around £100,000 prize money each issue. 50+ competitions for poetry, around 40 for short stories, etc. Only £2.50; £15/6 pa. carolebaldock@hotmail.com

Seaglass Books Professional editing & design; competitive prices; high quality author financed books. See www.seaglassbooks.co.uk or Contact Sian Parry: sian@seaglassbooks.co.uk - 01766 832112. 5% discount for TNW subscribers.

Do you require an extra pair of hands to reproduce your manuscripts into type format? Denise Henderson at Online Admin Services can help. A small friendly, professional and flexible admin and secretarial support service, delivering high quality at affordable rates. Contact 01235 537974, denise@online-admin.uk.com, www.online-admin.uk.com.

The Writer’s Library
How often have you reached a sticky part of the work-in-progress only to find something isn't quite right and you need to look it up? The answer to that question that’s been bugging you will be in one of the book’s recommended at TNW’s Writer’s Library - go to the revamped pages at our website and check out these essential volumes … www.thenewwriter.com/thewriterslibrary.htm

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E-NEWS

An Ethical Way to Get Rid of Unwanted Gifts
There's a new way to get rid of unwanted books swap them for books you do want, online. It's a green way to get new books to read without spending a penny. Several book swap sites have gone live in the past year but there's one book swap site in the UK http://www.ReadItSwapIt.co.uk - which is totally free to use. There are thousands of books available on the site, which was invented two years ago by two young British entrepreneurs in the hope that it would encourage book swapping and giving in the UK. "We wanted to create a site that would enable people to gain access to hundreds of books, without having to spend any money," said co-founder Neil Ferguson, a computer programmer who set up the site in his spare time.

Round the Campfire
are looking for recommendations for good reads and we need your help to do it. TNW subscriber Jean Currie writes: The aim of this new website is to persuade another reader to pick up a book you have enjoyed. Reviews should be between 200 and 500 words and guidelines can be found on www.roundthecampfire.co.uk

The Scout Pack
The Scout Pack specialises in screenplay and manuscript development; editing and scouting services for the film, television and publishing industries; and copyright registration for your work. They work with agents, publishers, producers and distributors in order to develop a stronger and more dynamic market for novels and screenplays. www.thescoutpack.com

Poetry with meaning opens to the public
Poetry with meaning promises to bring poets together and offer to help aspiring poets with their career in poetry. This is an interactive website brining poets together. Its main premise is allowing authors to publish their writings online for free. Poetry with meaning also allows poets to discuss their talent with each other through comments. The entire site gravitates towards a sense of community and helping poets connect. A key facet of Poetry with meaning is the tools and articles written by professional authors. www.poetrywithmeaning.com

Dee Rimbaud writes: I’ve just added a new section to my website, links to websites and webpages that feature the work of highly-rated poets. These poets were recommended by poets, writers, artists and magazine editors, in response to a survey, in which I asked the following questions:
Which poet has most influenced your outlook on life?
Who is your favourite living poet?
Which poet do you believe deserves more recognition than he or she has received?
If you scroll through the names there will no doubt be many poets whose work you are already familiar with, but there will also be many you will not have heard of. Of the latter, there is the potential for some interesting discoveries.
http://homepage.ntlworld.com/dee.rimbaud/recommended.html

The Poetry Archive
exists to help make poetry accessible, relevant and enjoyable to a wide audience. It came into being as a result of a meeting, in a recording studio, between Andrew Motion, soon after he became U.K. Poet Laureate in 1999, and the recording producer, Richard Carrington. They agreed about how enjoyable and illuminating it is to hear poets reading their work and about how regrettable it was that, even in the recent past, many important poets had not been properly recorded.
www.poetryarchive.org

Welcome to story, the campaign to celebrate the short story. We believe that the short story is one of the most exciting and important literary forms, and that it can and should reach the widest possible readership. We believe that the short story matters. Research has shown that writers are more than eager to grapple with the exquisite craft of the short story, and readers are more than ready to consume its treasures.
However, this once popular medium struggles to receive the attention it deserves, despite its position as one of the elite forms of modern literature. Building on the huge success of the Save Our Short Story campaign, story aims to increase the profile, prestige and presence of the short story in our culture; whether you are a writer or someone working with books, we want you to join us in order to help it thrive. http://www.theshortstory.org.uk/

www.bookgroup.info a one-stop-shop for all things bookgroup where you can find reviews, author interviews, search for a group and get some great offers.

Today's Woman
A supportive online community for men and women over 18, to help writers succeed in the writing industry. Offers a useful selection of services including author interviews, regular columns , interactive forums, and a place to share your writing for critiques by your peers. http://www.todays-woman.net

Looking for new topics and new characters? SciTalk (www.scitalk.org.uk) can help, with its free, easy-to-use database and website of enthusiastic scientists who would really enjoy talking to you. Browse the topics now and arrange to meet.

Freelance Writing Organization Int'l A free site hosting thousands of writing resources in a massive online database. 40+ genres, funds for writers, markets, education, news, and more. Publishers of Inkwell Newswatch Writers ezine. Professional writing resources for editors, journalists and writers. http://www.fwointl.com

Meet Other Writers! Writing.Com is the online community for writers. Membership includes a writing portfolio and the chance to meet and bond with fresh creative minds, just like you! http://tnw.Writing.Com

The Everyday People's Guide to Writing a Novel
features Peder Hill's concise articles on the elementsof story tellingand includesthe popular excerpts and Blog about the novel he's currently writing. http://www.musik-therapie.at/PederHill/

The Write Coach: 1-2-1 coaching and workshops to build confidence and motivation, release blocks, increase creativity and assist writers to become more successful. Free competitions, free e-zine and other resources on website. www.thewritecoach.co.uk

WritersServices.com attracted over 1.5 million visits last year to browse some of the 1000+ pages of advice for writers. The site pays its way by providing editorial and self-publishing services. Visit www.writersservices.com

The World’s Knowledge
Find out what’s on at the British Library:
http://www.bl.uk/index.shtml

For full information on all the courses at the various centres of the Arvon Foundation go to http://www.arvonfoundation.org/courses.asp

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PUBLICATIONS

The Seven Basic Plots
Christopher Booker (Continuum, £12.99)
Breathtaking in its scope and originality, "Seven Basic Plots" examines the basis of story telling in literature, film, and libretto. No one will ever see stories in the same way again. This remarkable and monumental book at last provides a comprehensive answer to the age-old riddle of whether there are only a small number of 'basic stories' in the world. Using a wealth of examples, from ancient myths and folk tales via the plays and novels of great literature to the popular movies and TV soap operas of today, it shows that there are seven archetypal themes which recur throughout every kind of storytelling. But this is only the prelude to an investigation into how and why we are 'programmed' to imagine stories in these ways, and how they relate to the inmost patterns of human psychology. Drawing on a vast array of examples, from Proust to detective stories, from the Marquis de Sade to E.T., Christopher Booker then leads us through the extraordinary changes in the nature of storytelling over the past 200 years, and why so many stories have 'lost the plot' by losing touch with their underlying archetypal purpose. Booker analyses why evolution has given us the need to tell stories and illustrates how storytelling has provided a uniquely revealing mirror to mankind's psychological development over the past 5000 years. This seminal book opens up in an entirely new way our understanding of the real purpose storytelling plays in our lives, and will be a talking point for years to come.

Successful Photography for Writers
David Davenport (Robert Hale £4.99)
Writers who illustrate their articles with photographs stand a better chance of their work being accepted for publication. "Successful Photography for Writers" shows how you can acquire an eye for seeing a good picture and take the sort of photographs editors require. This book will be welcomed by writers who would like to illustrate their work as well as beginners who want to know what is required to make a picture publishable. Authors planning a non-fiction project and novelists who use a camera as a pictorial notebook will also value the book's practical approach. Techniques for capturing pictures that will enhance your writing are clearly explained and are also illustrated with captioned photographs. Guidance on how to achieve creative results, pitfalls to avoid, and the importance of presenting your work in the most effective way, are just some of the essential topics covered. "Successful Photography for Writers" is packed with sound advice plus ideas to stimulate your creativity and help you produce photographs which will be a vital factor in getting your work published.

Pretext 11: This Little World
(Pen & Inc Press, School of Creative Writing, University East Anglia £7.99)
Features exclusive work by leading and upcoming authors from around the world. Seamus Heaney shares some startling poetry, Michael Holroyd muses on sibling rivalry, José Luis de Juan, Luisa Valenzuela and Alison Croggon present thrilling extracts from their next novels and there’s an exclusive interview with Iain Sinclair. Also in this issue, there are essays from Dubravka Ugresic and Sarah Gooderson, ponderings on the solitary life of the writer from Richard Beard, short fiction from Ron Butlin, Cecilia Rossi and Errol Scott, poetry from David Solway and a fantastic debate between Michèle Roberts and Patricia Duncker.

Issue 9 of Free Verse is out
Poetry by Heidi Lynn Staples, Thorpe Moeckel, Amie Keddy, Rupert Loydell and Robert Garlitz, Jason Stumpf, Grace Lee, Graham Foust, Max Winter, Emily Waples, Jerry Mason, Maurice Oliver, Ian Seed, Sandy Longhorn, Joseph Donahue. http://english.chass.ncsu.edu/freeverse/

The Good Fiction Handbook
Lynne Patrick, freelance writer, tutor of creative writing, organiser of the prestigious Real Writers Short Story Awards and of the well known Real Writers appraisal service and managing director of Crème de la Crime publishers, is well qualified to produce a book on the craft of writing fiction. This compact handbook is small enough to tuck into your pocket when you fly off on holiday or to read on your way to work and yet it contains all you need to know to write fiction. Structuring a plot, creating place and characters, functions of dialogue, where to begin a story and just as important, where to end. It's all there. If you have ambitions to write short stories, or even novels, treat yourself. Available for £5:99 post-free (cheques payable to Real Writers) only from PO Box 170, Chesterfield Derbyshire S40 1FE.

Are you struggling to become a published writer?
Do you feel like you are wasting your time making endless submissions? Are you thinking of self-publishing but are confused by the mixed opinions and scattered information about self-publishing? “What do I have to do to get a book published?” is the definitive UK-based guide for authors It clearly sets out the publishing process, dispels myths and clarifies common confusions about self-publishing.
Author Jo Anthony. Pen Press. ISBN: 1-905203-58-6. £12.99. Out now.
Includes interviews with agents, publishing houses and successfully published authors. Packed with hints, tips and advice for authors: Information gives you competitive advantage, Make contacts, ask questions, glean information, listen and learn, Write because you have something to say, Self-publish because you can afford to! Resilience is important; knowing when to stop is critical.

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REGIONAL

Creative Writing Holiday in Devon
Come and be inspired in East Budleigh, an award-winning and historic thatched village (Sir Walter Raleigh was born there), a mile from Budleigh Salterton and East Devon's Jurassic Coast. Chris Leonard, author of numerous books and an experienced workshop leader, is running a creative writing holiday from Saturday 8 April to Wednesday 12 April 2006. Beginners and more experienced writers welcome. Cost: £185 (Supplement for single room: £50) to include writing workshops, bed and breakfast and all meals except dinner - which is available in the local (thatched!) pub. Non-writing partners on B&B basis: £125. It will also be possible to stay on before or afterwards to further explore this area of Outstanding Natural Beauty. www.chris-leonard-writing.co.uk or call Judy Yates on 01395 445984 for further details.

Telling Tales: Writing Historical Fiction Weekend
Friday 24 March to Sunday 26 March in Lincoln. This unique course will include not only writing workshops under the guidance of a specialist tutor but also talks about historical time, place and sources by a professional historian. The course begins on Friday evening at 7.00pm with a wine reception followed by an introductory lecture. Saturday is occupied by talks and writing workshops. Later in the evening, a tutor guided walk around historic Lincoln, and on Sunday morning we will review the previous days work and look to the future of your historical writing. Full details at
http://www.lindumheritage.co.uk/breaks.htm

Living The Bones
An opportunity to stir up your creativity using imaginative writing, with Janine Pinion & John Killick at Burton Manor, Burton, South Wirral, Cheshire, Friday 28 to 30 July. The weekend starts late afternoon on Friday and ends with lunch on Sunday. After a short, introductory session on Friday afternoon, we will spend the weekend on writing activities to get you going on your creative journey. There will be an opportunity on Saturday evening for anyone, including ourselves, to read a selection of their writing or chosen writers. The focus is on poetry, but you may engage in any written form you choose. Experience is not necessary. The weekend is also open to writers interested in developing their work. Full details at http://www.person-centred-art-therapy-north.com/Living%20The%20Bones.htm

It’s A Love Thing
celebrates the word at The Norfolk & Norwich Millennium Library, The Forum, Norwich and around the county in February 2006. Programme of events includes experienced author and tutor Sue Welfare leading a creative writing workshop using true stories, real lives and first hand accounts in ‘Exploring the Theme of Love During War Time: The Untold Story’. There’s also a session with Mills and Boon top authors Kate Hardy and Kate Walker where you can gain an insight into the world of Romance. Plus author and editor Julia Bell (novelist, lecturer on the MA Creative Writing course at Birkbeck, University of London and co-editor of The Creative Writing Coursebook) leads a short story workshop exploring the theme of love, plus tips on how to get short stories published and sending out your work. For further details lisa.donofrio@cae.norfolk.gov.uk

The Perfect Pitch
How to get your work into more publications more often. Intensive Workshop for both new and seasoned writers. Saturday 4 March, 10am 4.30pm, Conway Hall, Red Lion Square, London WCI (Holborn Tube). £49 members, £55 non members includes tea, coffee and biscuits; bring packed lunch or buy locally; women only. For more information contact Jill Eckersley on 020 7388 5622/ jill.eckersley@virgin.net, or Sally-Jayne Wright on 020 8675 3522/ sallyjcox@aol.com
Topics covered:
what to write ABOUT: generating ideas; fulfilling reader needs; whether to specialise; celebrity, travel and human interest features; finding case histories
who to write for: studying the market; best-paid features and easiest markets; contributors’ guidelines; publications you won’t find at W.H. Smith
approaching editors: successful pitches; how to follow up; reasons for rejection; dealing with rejection; recycling your ideas; any other business: from payment and rights, to getting down to work.
Former teen magazine features editor Jill Eckersley has been self-employed for more than twenty years. Chair of Women Writers Network, she has contributed articles and stories to a variety of publications. She has written two romantic novels, five novels for teenagers and five self-help non-fiction books. Sally-Jayne Wright worked in an advertising agency as a copywriter before going freelance in 1991. A former Chair of WWN and author of two non-fiction books, she has sold everything from celebrity interviews to travel but now specialises in food writing.
Further information from Lindsay Baldwin lindsaymary.baldwin@virgin.net

Ormskirk Writers & Literary Society Annual Writing Day
Making Crime Pay. Guest speakers: Lynne Patrick, MD of the independent publishing house Creme de la Crime and published writer of short fiction and articles, and Ron Ellis, author of the Johnny Ace crime series and founder of Nirvana Book publishing agency. The Writing day will take place on Saturday 19 May, in Ormskirk Community Centre, and costs £30 for the day, inclusive of refreshments and a 3 course lunch in a nearby restaurant. Application form from Carol Fenlon at 01695 728320 or by emailing on carol@fenlonh.freeserve.co.uk

Deddington Writers Group
is organising its Second Writing Competition: short story or poem, a theme of your choice; separate categories for young people. Entrants must be Oxfordshire residents. Entry fee £3 (free for 16 and under). Closing date 25 April, send SAE for full details and entry form to DWG Competition, 7 The Daedings, Deddington, Oxon. OX15 0RT, or contact hughm@fish.co.uk or download from www.deddington.org.uk

The South and Mid Wales Association of Writers has been disbanded which means Carousel and the Mathew Pritchard Award for short stories are no more.

Literotica: Erotic Writing with Mitzi Szereto
Join author and anthologist Mitzi Szereto for a special residential weekenderotic writing workshop on the beautiful Isle of Wight. The courses, held in March and June 2006,will be conducted atThe Old Grange, “a new generation of country clubs.” Nestled in the heart of Shanklin’s old village, The Grange is a short walk from the beach, with walking, cycling, horseback riding, and clay pigeon shooting within easy reach.
Friday17 March to Sunday 19 March 2006. £175
Friday23 June to Sunday25 June 2006. £195
Cost includes course, accommodation, and full board.
The course will consist of lectures, group discussions, writing exercises, collaborative efforts, and workshopping of material. A comprehensive overview of the marketplace for those considering publication will be provided. Designed for those interested in writing erotica for ! either personal or professional exploration. Open to all levels of writers.
info@thegrangebythesea.com

Cambridge Series Poetry Readings
8pm, New Music Room, First Court, St John's College. £3/2 donations hoped for. Wine will be served. All are welcome. See www.cambridgepoetry.org for further details or email contact@cambridgepoetry.org to be sent them. Entrance to the college the forecourt entrance, past the porters lodge, turn left and move into Second court, turn left and move into First court.
Thursday 23 February Lucy Sheerman, Jeremy Hardingham, Bill Griffiths
Tuesday 7 March Peter Robinson, Dell Olsen
(Line-ups may suffer some changes and other additions)

Poetry Reading
Saturday 18 February. Fiona Sampson, Lotte Kramer, Judith Kazantis, Ruth O'Callaghan. Trinity United Reformed Church, Buck Street, London NW1 8NJ (on Kentish Town Road, near Camden Town Tube). Doors Open 6:30 for 7:pm. £4/£3 (conc.) Wine. All Proceeeds to Cold Weather Shelter

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That’s it for now, hope there were some items of interest for you in this edition of TNW News. Let us know of any events that you come across in your region - the more notice the better. Find out more about what we’re up to at www.thenewwriter.com

“Far too many relied on the classic formula of a beginning, a muddle, and an end.” Philip Larkin, in 1978, referring to modern novels.

The New Writer
PO Box 60, Cranbrook, Kent TN17 2ZR
tel 01580 212626
fax 01580 212041
mailto:editor@thenewwriter.com

www.thenewwriter.com

The New Writer is not responsible for the absolute accuracy of the information in this newsletter. We have replicated it as received from a variety of different sources and recommend you verify the details before proceeding.

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More about descriptions

How's this for a good description? It's a verse by Emily Dickinson, perfect in its economy and rhythm:

A face devoid of love or grace,
A hateful, hard, successful face,
A face with which a stone
Would feel as thoroughly at ease
As were they old acquaintances -
First time thrown together

Charlie

Tuesday, February 14, 2006

On Making Stuff Up

We are often advised ‘write about what you know’ – as though that’s the only way to produce good writing. But if you think about it, some of the greatest works of literature are about things the writer couldn’t possibly have ‘known’ about. The Greek Myths, Gulliver’s Travels, Alice in Wonderland, Harry Potter…

Look at someone like the prolific Scottish writer Iain Banks. He has produced dozens of books, both ‘straight’ fiction and science fiction (which he writes as Iain M. Banks.) Every one of his novels is different in subject, tone, style and construction from every other. Unlike some novelists he doesn’t produce variations on the ‘same’ novel time and again. How can he possibly always be writing about ‘what he knows’?

And, as one who writes non-fiction as well as fiction, I spend many hours researching about stuff I don’t know, in order to write books about it. If we’re ‘allowed’ to do that for non-fiction, why not fiction?

It seems to me, anyway, that if all fiction was written about stuff we have experienced – given that most of us live fairly unexciting lives – it would both tend to be boring and stray too far towards the autobiographical and/or non-fictional. Fiction is there to show us stuff we haven’t experienced – sometimes, stuff we couldn’t even have imagined in our wildest dreams.

So, maybe we should all be allowed to write one – or at the most two – stories or novels about what we know. That gets the autobiography and domestic stuff out of the way. The rest of it should be genuinely creative – let your imagination take the wheel and drive the reader on a magical mystery tour.

Here’s Fay Weldon on the subject:

‘Fiction is much safer than non-fiction. You can be accused of being boring, but seldom of being wrong… Women were warned – as school children still are - to write about what they know, not to imagine. To write about the football field or the school cloakroom, not the polo field or the House of Commons Dining Room. To describe, not to invent.

But novelists don’t have to get things right. They are under no obligation to describe a real world: they can have the Battle of Waterloo take place in 1820 if they want to; so long, that is, as they continue to enable their readers to suspend their disbelief; though in that particular circumstance they would, I can see, be making things difficult for themselves. Writers of fiction can’t be wrong: they can, I suppose, display so much ignorance, that the reader remembers the writer’s existence just as the wrong moment and throws down the book in disgust. Readers like writers to be cleverer than they are. But the strings attaching the real world to the invented world can be knotted and twisted and loosened and tightened and plaited as the writer wishes. He is, you see, in charge.’

(From: Letters to Alice.)

Monday, February 13, 2006

Pause for thought

Middle Child asks:
... but when do you use a colon?

At the risk of boring the pants off everybody, here's a quick (very quick, I promise!) master class.

There are four punctuation marks which indicate different lengths of pause.The best way to work out the length of pauses is, of course, to read your work out loud (see Charlie's comments below.)

1. The Full Stop or Period (.)
Indicates the longest pause, and always used at the end of a sentence. And if you're saying 'what about ending sentences with exclamation marks and question marks?' note that both ! and ? already include a full stop. So don't add another full stop afterwards.

2. The Comma (,)
Indicates the shortest pause. These are used in a number of different ways, including marking off clauses within a sentence, separating the items in a list, and marking off direct speech. (A full explanation of how to use this tricky little beast would take up a full post on its own and it's too late at night for my synapses to cope with that. If there's anybody out there who wants more, just holler, and I'll set myself to the task when I'm more awake!)

3. The Colon (:)
Indicates a slightly shorter pause than a full stop. It is falling into disuse (see Vonnegut's comments below): sentences tend to be shorter and less complex than they once were. The colon is mainly used nowadays when you want to introduce a list or an example: e.g. Writers should have the following books close to hand: a dictionary, a thesaurus and a guide to punctuation.

Otherwise, you can just about always use a full stop - or a dash - instead.

4. The Semi-colon (;)
Indicates a pause longer than a comma but shorter than a colon; although it does actually have a more precise grammatical use than that, the rules are quite subtle. It can nearly always be replaced by a comma; alternatively rewrite the passage to make more, simpler, sentences.


Although you should stick to the basic rules of punctuation, don't waste time re-checking your work to ensure every comma is perfectly placed. Do your best to make the punctuation work for you as part of your own style.

And, of course, there are always exceptions. Fay Weldon, for one, delights in using long sentences divided up by colons and semi-colons - yet her writing remains readable and easy to understand. But don't try this at home unless you have a very strong grasp of the rules!

Finally, the absolute best way to learn how to punctuate your work effectively, is to read, read, read. Follow the lead of your favourite (published!) writers and you shouldn't go too far wrong.

Yet more rules for writing fiction

Edy very wisely picks up on the Vonnegutian theme (sounds like a Trekky-inspired alien race!) in forwarding this piece from the maestro about writing fiction. But, let it be noted here: KV breaks his own rules at regular intervals and, as he (more or less) says, you've gotta know 'em to break 'em. Oh, and if I followed these rules slavishly, I'd never write anything at all. Hmmmm, perhaps that would be best all round! Hmmmmmmmmmmmm...

Now brimful with wisdom, Edy, by the way, can be found at http://edyasell.blogspot.com/ and it might be nice if you could call in there and wish her well for her chemo therapy course, the second dose of which, I believe, she gets today.


Kurt Vonnegut
Eight rules for writing fiction
:

1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
2. Give the reader at least one character he or she can root for.
3. Every character should want something, even if it is only a glass of water.
4. Every sentence must do one of two things -- reveal character or advance the action.
5. Start as close to the end as possible.
6. Be a sadist. Now matter how sweet and innocent your leading characters, make awful things happen to them -- in order that the reader may see what they are made of.
7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
8. Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

-- Vonnegut, Kurt Vonnegut, Bagombo Snuff Box: Uncollected Short Fiction (New York: G.P. Putnam's Sons 1999), 9-10.

Sunday, February 12, 2006

More Vonnegut

I'm a Vonnegut fan (no kidding!). Reading him will tell you much about writing, plus much about humankind, plus much about yourself, plus he is as amusing as hell. These five sentences of mine are written as Vonnegut himself might write them. But not half as well. Too bad!

Here's a very short extract from a man without a country, his latest offering, written in his 82nd year. It might well be his last, although he said that about his previous book, so let's hope it's not.

"Here is a lesson in creative writing.
First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you've been to college."

See what I mean!

Saturday, February 11, 2006

Read it out loud.

If you wanna find out what first impression others have of your writing, read it out loud to yourself. This simple act will distance your work from your misperception of how great it is. It will give you instant feedback on rhythm and fluency and lyricism and structure and meaning and punctuation, for starters.

Kids do this automatically when they are learning to read and write. It's no different, in principle, for adults who want to read and write at any level.

I just read this back to myself out loud and it stinks!

charlie

Friday, February 10, 2006

Cyber applause please!

Middle Child has written this evocative description, which cleverly combines a character description with a building description, so the two are inextricably linked - one extends and completes the other.
Thanks for your contribution.



My Mother's House.
An old ginger cat who dribbles and soaks in the heat and patting; a larrikin dog with a strong lust for life; female dogs and things that stink; an old house with no paint, leans, sagging at its seams; this then is my mother's house.

In contrast to its skin, inside is a crazy coalition of colours from the whole spectrum thrown with abandon into a lifetime's clutter of the inhabitant who saves and collects everything.

This then is my mother's house.

No neat brick and tile with every care taken.

Sometimes she is happy here. Light shines and warms from her and there seems to be a glow in the colours around her. Sometimes she is unhappy and the inside of the house darkens around her and seems to close from its light.

We love our mother's old house, because everything in there matches and the purples and oranges of the curtains blend with the yellow of the lounge chair harmoniously, defying all the laws of "blue and green must never be seen".

People with their heads on backwards only see the chaos of the house, and miss the beating of its heart, and it does beat with a boom, boom when she puts Elvis on one day and plays Chopin the next.

This then is my mother's house.


If anybody else has any writing, comments, questions or whatever, to share with Writers Blog, do post them as a comment. All contributions delightedly received!

Tuesday, February 07, 2006

Building a Picture 3

Two more building descriptions: the first is detailed and conventional, drawing a very precise picture of the house. The second is far more abstract and impressionistic - indeed, it hardly describes the building at all, but nonetheless by the use of a quirky, humorous approach (which captures so much about English architecture along the way) it produces a distinct picture in the mind. The fact that the farmhouse I see is likely to be completely different from the one you see, matters not a jot.

…the house... was built native style, with mud walls and thatched roof, and had been meant to last for two seasons, for the Quests had come to the colony after seeing an exhibition in London which promised new settlers that they might become rich on maize-growing almost from one year to the next. This had not happened, and the temporary house was still in use. It was a long oval, divided across to make rooms, and across it had been flung out projecting verandahs of grass. A square, tin--roofed kitchen stood beside it. This kitchen was now rather tumble down, and the roof was stained and rusted. The roof of the house too had sagged, and the walls had been patch so often with fresh mud that they were all colours, from dark rich red through dulling yellow to elephant grey.
Martha Quest: Doris Lessing

The farmhouse was a long, low building, two-storied in parts. Other parts of it were three-storied. Edward the Sixth had originally owned it in the form of a shed in which he housed his swineherds, but he had grown tired of it, and had had it rebuilt in Sussex clay. Then he pulled it down. Elizabeth had rebuilt it, with a good many chimneys in one way and another. The Charleses had let it alone; but William and Mary had pulled it down again, and George the First had rebuilt it. Geroge the Second, however, burned it down. George the Third added another wing. George the Fourth pulled it down again.
By the time England began to develop that magnificent blossoming of trade and imperial expansion which fell to her lot under Victoria, there was not much of the original building left, save the tradition that it had always been there. It couched, like a beast about to spring, under the bulk of Mockuncle Hill.
Cold Comfort Farm: Stella Gibbons

Now it's over to you! Have a go at describing a building you know well - why not share them with us?

Building a Picture 2

Two more examples of how to describe buldings so vividly you feel as though you can just knock on the door and walk in!

They passed between tall gates, guarded by a gate-house, down a wide, lit drive lined with trees which no doubt in summer were gracious and majestic, but now were merely sodden and untidy, and there spot-lit, as if waiting for a son-et-lumiere performance to begin, stood the Shrapnel Academy, as it has stood for a hundred years, looking for all the world like a scaled-down Buckingham Palace: stout stone-faced and determinedly grand, in spite of having been badly placed, by its architect, where the ground fell. (It is all very well for a cottage to nestle, but a country house can only properly be at home on rising ground.) Eight great windows ranged on either side of a pillar-flanked front door; twelve smaller ones were ranged above, another row likewise, and then twenty-four little dormer windows stared out from beneath the cornice of the roof. The flagpole was the proud focus of a host of spotlights. From it flew the house flag. This was in yellow silk and embroidered in red upon it were the words THE SHRAPNEL ACADEMY.
The Shrapnel Acacdemy: Fay Weldon

…I scanned more narrowly the real aspect of the building. Its principal feature seemed to be that of an excessive antiquity. The discoloration of ages had been great. Minute fungi overspread the whole exterior, hanging in a fine tangled web-work from the eaves. Yet all this was apart from any extraordinary dilapidation. No portion of the masonry had fallen; and there appeared to be a wild inconsistency between its still perfect adaptation of parts, and the crumbling condition of individual stones. In this there was much that reminded me of the specious totality of old woodwork which has rotted for long years in some neglected vault, with no disturbance from the breath of the external air. Beyond this indication of extensive decay, however, the fabric gave little token of instability. Perhaps the eye of a scrutinising observer might have discovered a barely perceptible fissure, which, extending from the roof of the building in front, made its way down the wall in a zigzag direction, until it became lost in the sullen waters of the tarn.
The Fall of the House of Usher: Edgar Allan Poe

More to follow...

Building a Picture 1

To follow up the Test of Character posts, this is another three part series which demonstrates how buildings can be described so effectively that they become as imbued with life as a well-rounded character. Indeed, in some fiction - for example, the Gormenghast trilogy, and The Fall of the House of Usher (extract to follow) - the a building becomes a character in its own right, at least as important as the human characters depicted.

Gormenghast, that is, the main massing of the original stone, taken by itself would have displayed a certain ponderous architectural quality were it possible to have ignored the circumfusion of those mean dwellins that swarmed like an epidemic around its outer walls. They sprawled over the sloping earth, each one half way over its neighbour until, held back by the castle ramparts, the innermost of those hovels laid hold on the great walls, clamping themselves thereto like limpets to a rock. These dwellings, by ancient law, were granted this chill intimacy with the stronghold that loomed above them. Over their irregular roofs would fall throughout the seasons, the shadows of time-eaten buttresses, of broken and lofty turrets, and, most enormous of all, the shadow of the Tower of Flints. This tower, patched unevenly with black ivy, arose like a mutilated finger from among the fists of knuckled masonry and pointed blasphemously at heaven. At night the owls made of it an echoing throat; by day it stood voiceless and cast its long shadow.
Titus Groan: Mervyn Peake

We walked through a high hallway into a bright rosy-coloured space, fragilely bound into the house by french windows at either end. The windows were ajar and gleaming white against the fresh grass outside that seemed to grow a little way into the house. A breeze blew through the room, blew curtains in at one end and out the other like pale flags, twisting them up toward the frosted wedding -cake of the ceiling, and then rippled over the wine-coloured rug, making a shadow on it as wind does the sea.
The only completely stationary object in the room was an enormous couch on which two young women were buoyed up as though upon an anchored balloon. They were both in white, and their dresses were rippling and fluttering as if they had just been blown back in after a short flight around the house. I must have stood for a few moments listening to the whip and snap of the curtains and the groan of a picture on the wall. Then there was a boom as Tom Buchanan shut the rear windows and the caught wind died out about the room, and the curtains and the rugs and the two young women ballooned slowly to the floor.
The Great Gatsby: F. Scott Fitzgerald

Sunday, February 05, 2006

A Foggy Day in London Town...

When writing for a specific publication you should keep a watchful eye to ensure that the level of language you use is suitable for that publication. This should help to maximise your chances of acceptance.

There are various formulae which help to determine the ease of reading of a piece of writing. The Fog Index is one of the simplest.

This is what you do:

Take an extract of writing from a target publication which finishes within one or two words of 100 words.
Then work out the following:
100 divided by the number of sentences = the average sentence length (ASL)
Number of long words (3 syllables or over) = NLW
(ASL x NLW) x 0.4 = FOG INDEX (FI)

FI of 10 = reading level of a 15 year old
FI of 11-13 = reading level of a 6th form pupil (17-18 years old)
FI of 14-16 = reading level of a university student
FI of over 18 = too difficult for newspapers

UK Daily Mail has an average FI of 9.5
The London Times has an average FI of 18

Now compare this with your article for the publication. Adjust the sentence length and length of words to produce the required FI.

So, for example:

The long and the short of it - choose between these alternatives:

Accomplish / do
Attempt / try
Utilise / use
Construct / build
Deficiency / lack
Equitable / fair
Infrequent / rare
Occurrence / event
Terminate / end
Requisite / required


Don’t use several words where one will do – unless you wish to create a specific ‘wordy’ effect, for reasons of humour or satire, for example:

At this moment in time / now
In view of the fact that / since
Give encouragement to / encourage
Is equipped with / has
The majority of / most
Take into consideration / consider
Large number of / many

Although this alone will not guarantee acceptance – there are matters of style and content which also need to be taken into account - if you practise rewriting the same piece to suit different reading levels you will come to see how relatively small changes can change the whole tone of your writing.

Have fun playing with your words!

Thursday, February 02, 2006

Reading About Writing

Although I’d love for us to be able to sit around the cyber-campfire all day long… I do know that occasionally a break from ye olde computer is necessary. If you do find yourself looking for an “off-line” source of good writing advice I have three suggestions:

Jack Heffron
The Writer’s Idea Book and The Writer’s Idea Workshop

John Dufresne
The Lie that Tells the Truth

Anne Lamott
Bird by Bird

I found these books to be very helpful, not to mention I just “down-right” love Bird by Bird for more reasons than I can list. I believe these three suggestions clearly distinguish themselves from the massive horde of ‘writer help/advice’ books on the market now.

Happy writing and reading,
Amy