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Guest post: Are eBooks fracturing the writing ‘family’? by Dave Sivers

Tonight’s guest blog post, on the topic of eBooks is brought to you by crime fantasy and mainstream crime fiction author Dave Sivers.

Are eBooks fracturing the writing ‘family’?

Most writers are keen observers.  We like nothing better than to see how different people respond to different circumstances.  For me, ever since the eBook revolution really began to take off, with opportunities for writers to directly publish their work to the eBookstores for little or no financial outlay, it’s been fascinating to see how the battle lines have been shifting.

In the early days of eBook self-publishing, it was no real surprise to see publishers and agents doubting it would catch on and pointing out the advantages that their roles as the ‘gatekeepers’ of the publishing world offered to writers.  But it was also pretty obvious that, if everyone direct-published and the physical book died a death (I don’t think that will happen for a long, long time), those people would soon be out of a job.  A threat to one’s livelihood is bound to provoke a reaction.

What has surprised me more is the way self-published eBooks are dividing the writing fraternity.  I’m not just talking about a healthy difference of opinion.  Some commercially published writers are quite vitriolic in their blanket condemnation of those who take the new route to publication.

Not so long ago, writers who had enjoyed a bit, or even a lot, of success were only too ready to share their experience and tips with those who were still working at it.  At writing conventions, published and unpublished writers often socialised like an extended family.

Now the revolution has come, and very many commercially published writers have indeed embraced eBooks and offered encouragement and support to self-publishers.  But some seem to have adopted more of a ‘them and us’ approach.

There is a body of opinion out there that condemns all self-published eBooks, almost without exception, as ‘crap’.  It insists that those who write such books have no right to call themselves ‘authors’; and that they should call themselves ‘self-published’, not ‘independently published’.

Part of this concern is that direct self-publishing allows writers to flood the market with so many ‘bad’ self-published eBooks that it can be hard to find the ‘good’ stuff.  Interestingly, it’s not only the commercially published who are saying this.  At least one successful self-published eBooker who was picked up by a commercial publisher now says he never felt like a ‘proper’ writer until he got that deal.

I have even seen a couple of self-published eBookers insisting that their stuff is fabulous, but the rubbishy rest is hiding their brilliance from would-be readers.

There’s no denying that the ease of self-publishing must tempt some inexperienced writers into publishing before either their craft, or their book, or both, are ready.  And I have no difficulty in accepting that the professional input of an agent or an editor can only help.

This does not mean that every book that does not go through the traditional process is without merit.  Many self-published eBookers do submit their work to serious scrutiny by critical and knowledgeable readers, including experienced writers, to help them make their book the best it can be before finally publishing.

The obvious weakness with condemning all writers who have not been commercially published is that even the top writers have known rejection.  They and their books were not ‘bad’ up to the moment they were accepted and then miraculously transformed.  Yes, the input of an editor may have made a difference, yet most of us have still thrown our share of commercially published books across the room.  Commercial publishing does not have an absolute monopoly on quality, and self-publishing does not have an absolute monopoly on trash.

What about labels like ‘author’ and ‘indie’?  This side of the debate has echoes of the recent row between Austria and Slovenia over the Krainer sausage.  It’s of academic interest to some people, but the real issue is what the sausage tastes like.

Let me say straight away that I am clear that I am the ‘author’ of my work, but I tend to describe myself as a ‘writer’.  If my writing comes up in conversation, and I am asked if I am an author, I usually say, ‘Yes – I’m a self-published eBooker’.  And I make no apology for it.

I suspect there are many reasons for these attacks.  They undoubtedly include a genuine belief that published writing needs to earn some sort of professional seal of approval.  Some may slightly resent the fact that they had to get past the gatekeepers, only to find these self-publishing upstarts sharing the eBookshelves with them.  There may even be a touch of elitism, a sense that the self-published are a second-class rabble.

Whatever the reasons, my worry is that writers who launch sweeping and savage attacks on other writers may have forgotten that most writers, like themselves, have dreams, a strong desire for their work to be read, and fragile egos.  Whether they submit that work to an agent, show it to a critical friend, or self-publish for all to read, they are laying those egos on the line.  Other writers are the last people who should sneer at them.

My crystal ball tells me that the self-published eBook genie is out of the bottle and will not willingly go back into it.  It will take time to figure out the best ways to enable readers to identify the books they’re most likely to enjoy, but my guess is that eBook readers will gradually gravitate towards those on-line reviewers they most trust for recommendations.

I took the eBook plunge because I had received strong, positive feedback on my novels from serious people and because I wanted people to read them – that’s why I wrote them in the first place.  It’s for me to do my best to promote them and for the readers to decide if they like them.

Do I still dream of one day seeing my titles on Waterstone’s shelves?  You bet!  Do I feel that not being commercially published makes me less of a proper writer?  Sorry.  No.

Morgen: Being a self-published eBooker myself, no apology needed here although a downside to eBooks is that a minority (I’m hoping) of authors do the editing themselves and have no-one to be their back-up eyes. I have a very good editor and two first readers and as you know, Dave, belonging to a writing group is a must. Providing an author gets constructive feedback and not just “that’s good” or “I don’t like that” then they’ll learn where their strengths and weaknesses are. Thank you, Dave!

Dave Sivers grew up in West London, England, leaving school at 16 to start a successful civil service career.

Over the years, he has gained a First Class Honours degree from the Open University and moonlighted as, among other things, a night club bouncer, a bookmaker’s clerk and a freelance writer.

His published work includes short fiction, magazine articles and newspaper columns, and he has also found some success with stage and TV material.

Since taking early retirement from the day job, he has devoted more time to his writing, which includes both crime fantasy and mainstream crime fiction.  His short mainstream crime can be sampled on his website, and his crime fantasy novel, A Sorcerer Slain, introducing personal inquisitor Lowmar Dashiel, is available as an e-book at the Amazon Kindle Store, Smashwords, Barnes & Noble and all good e-book stores. Dave’s website is http://www.davesivers.co.uk and you can also read his author spotlight.

If you would like to write a writing-related guest post for my blog then feel free to email me with an outline of what you would like to write about. If it’s writing-related then it’s highly likely I’d email back and say “yes please”.

The blog interviews return as normal tomorrow morning with novelist and screenwriter Mary Firmin – the three hundred and eighth of my blog interviews with novelists, poets, short story authors, bloggers, autobiographers and more. A list of interviewees (blogged and scheduled) can be found here. If you like what you read, please do go and investigate further. And I enjoy hearing from readers of my blog; do either leave a comment on the relevant interview (the interviewees love to hear from you too!) and / or email me.

You can sign up to receive these blog posts daily or weekly so you don’t miss anything… and follow me on Twitter where each new posting is automatically announced. You can also read / download my eBooks and free eShorts at SmashwordsSony Reader StoreBarnes & NobleiTunes BookstoreKobo and Amazon, with more to follow. I have a new forum and you can follow me on Twitter, friend me on Facebook, like me on Facebook, connect with me on LinkedIn, find me on Tumblr, complete my website’s Contact me page or plain and simple, email me.  I also now have a new blog creation service especially for, but not limited to, writers.

Unfortunately, as I post an interview a day (amongst other things) I can’t review books but I have a feature called ‘Short Story Saturdays’ where I review stories of up to 2,500 words. Alternatively if you have a short story or self-contained novel extract / short chapter (ideally up to 1000 words) that you’d like critiqued and don’t mind me reading it / talking about and critiquing it (I send you the transcription afterwards so you can use the comments or ignore them) :)  on my ‘Bailey’s Writing Tips’ podcast, then do email me. They are weekly episodes, usually released Monday mornings UK time, interweaving the recordings between the red pen sessions with the hints & tips episodes. I am now also looking for flash fiction (<1000 words) for Flash Fiction Fridays and poetry for Post-weekend Poetry.

 
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Posted by on May 22, 2012 in ebooks, ideas, writing

 

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Podcast: Bailey’s Writing Tips episode 051 – writer’s block by Nicky Wells

Episode 51 of the Bailey’s Writing Tips podcast was released today and featured a forthcoming guest post on writer’s block by Nicky Wells. This piece will go live on as a guest blog on Tuesday 26th June (7pm UK time) but today was a pre-blog airing and even if you don’t suffer from writer’s block I hope you will find it useful.

The podcast is available via iTunesGoogle’s FeedburnerPodbean (when it catches up), Podcasters (which takes even longer) or Podcast Alley (which doesn’t list the episodes but will let you subscribe).

Nicky Wells writes fun and glamorous contemporary romance featuring a rock star and the girl next door.  She recently signed her debut novel, Sophie’s Turn, with U.S. publisher, Sapphire Star Publishing, and the book is due for release on 6 September 2012.  Nicky loves rock music, dancing, and eating lobsters.  When she’s not writing, Nicky is a wife, mother, and teaching assistant.  Nicky is also a featured author on the innovative reader / author project, loveahappyending.com.

Originally born in Germany, Nicky moved to the United Kingdom in 1993, and currently lives in Bristol with her husband and two boys.  In a previous professional life, Nicky worked as a researcher and project manager for an international Human Resources research firm based in London and Washington, D.C.

Visit Nicky on her blog where you can find articles, interviews, radio interviews and, of course, an ongoing update on her work in progress, the second and third parts of the Rock Star Romance Trilogy.  You can also follow Nicky on Twitter and find her on Facebook.

About Sophie’s Turn…
One fine day in Paris, Sophie Penhalligan suddenly finds herself engaged to her teenage crush and love-of-her-life-from-a-distance, rock singer and star extraordinaire Dan Hunter.  But there is the small matter of her very recent, but very prior, engagement to Tim.  Reliable, honest, trusting Tim, her boyfriend of two years stashed away safely in his mews house in South Kensington while Sophie is drinking rather too much champagne with Dan in Paris.  This contemporary romantic fairy tale describes how Sophie gets into her impossible situation and how she turns it around.

The podcast also featured some of my news…
Visitors to my blog will know how much I love blogging about writing. So much so that I have posted over 900 items (either guest’s or mine) about the topic. I do an author interview a day, two spotlights and guest posts a week and weekly flash fiction and poetry. I’m currently booked up to November for the interviews and July for pretty much everything else but if you’d like to take part do take a look. I’ve also just created http://icanbuildyourwritingblog.wordpress.com and, for £50, €60 or $75, I can create a blog for you or anyone you know. Although it’s geared towards writers I can create them for any business or hobby. I already have an animal healer and editor to create blogs for.

…and feedback
I’ve received some wonderful feedback (and some less so, which is to be expected) for my eBooks. I have individual short stories, some free, some not free, a 31-story collection and a writer’s block workbook and it’s the latter that I received a wonderful review on today. Regardless of whether you get stuck with writer’s block this eBook has over 1,000 sentence starts and over 50 writing-related hints and tips. It’s just $1.49 on Smashwords and $1.62 including tax from Amazon.

and feedback from Nicky on this episode: “wow wow wow! this is amazing. It’s fantastic to hear ‘me’ through someone else. Thank you! The whole family listened to it over dinner (captive audience!) and we enjoyed it. Thanks so much, you are superstar!!” pleased then :)

Thank you for downloading or clicking on this podcast. If you have any feedback or areas you’d like covered in the hints & tips podcasts, do email me at morgen@morgenbailey.com and I look forward to bringing you the next episode in a fortnight which will be three more short stories.

You can sign up to receive these blog posts daily or weekly so you don’t miss anything… and follow me on Twitter where each new posting is automatically announced. You can also read / download my eBooks and free eShorts at SmashwordsSony Reader StoreBarnes & NobleiTunes BookstoreKobo and Amazon, with more to follow. I have a new forum and you can follow me on Twitter, friend me on Facebook, like me on Facebook, connect with me on LinkedIn, find me on Tumblr, complete my website’s Contact me page or plain and simple, email me.  I also now have a new blog creation service especially for, but not limited to, writers.

Unfortunately, as I post an interview a day (amongst other things) I can’t review books but I have a feature called ‘Short Story Saturdays’ where I review stories of up to 2,500 words. Alternatively if you have a short story or self-contained novel extract / short chapter (ideally up to 1000 words) that you’d like critiqued and don’t mind me reading it / talking about and critiquing it (I send you the transcription afterwards so you can use the comments or ignore them) :)  on my ‘Bailey’s Writing Tips’ podcast, then do email me. They are weekly episodes, usually released Monday mornings UK time, interweaving the recordings between the red pen sessions with the hints & tips episodes. I am now also looking for flash fiction (<1000 words) for Flash Fiction Fridays and poetry for Post-weekend Poetry.

 
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Posted by on May 6, 2012 in ebooks, podcast, tips, writing

 

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Bailey’s Writing Tips podcast episode 050: second-person viewpoint

Mixed episode 50 of the Bailey’s Writing Tips podcast was released today.

I talked about points of view way back in August 2010 so this time I thought I’d focus on the little-known viewpoint that is second-person so I did, for seven minutes and eighteen seconds. :)

In the episode I mentioned interviewees Stella Deleuze and Sue Moorcroft and Jay McInerney’s second-person book Bright Lights Big City then read the beginning of my second-person free short story ‘The Dark Side’.

I talked about how to write in second person then provided some sentence starts from my 365-day Writer’s Block Workbook:

  • His touch was tender yet you…
  • You wonder when things had really got so bad…
  • This wasn’t the life you’d signed up for…
  • If you could change one thing…
  • You said it could never happen again…
  • It’s a dull day and you know how it feels…

I then mentioned that I’ve finally started putting some of my books on Amazon.co.uk and Amazon.com. For now they are repeats of everything I have on Smashwords, but I recently left my job to edit my four novels so I hope to put them online in the coming weeks, depending on how busy my editor and first readers are. :)

If you have any feedback or areas you’d like covered in the hints & tips podcasts, do email me.

The podcast is available via iTunesGoogle’s FeedburnerPodbean (when it catches up), Podcasters (which takes even longer) or Podcast Alley (which doesn’t list the episodes but will let you subscribe).

Details of the other episodes (interviews, reviews, red pen sessions etc.) can be found here.

You can also read / download my eBooks and free eShorts at Smashwords, Sony Reader Store, Barnes & Noble, iTunes Bookstore and Kobo. My eBooks are now on Amazon, with more to follow, and I also have a quirky second-person viewpoint story in charity anthology Telling Tales.

I have a new forum and you can follow me on Twitter, friend me on Facebook, like me on Facebook, connect with me on LinkedIn, find me on Tumblr, complete my website’s ‘Contact me’ page or plain and simple, email me.

 
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Posted by on April 9, 2012 in ebooks, Facebook, podcast, writing

 

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Guest post: Writing your novel – how important is a detailed plan? by Rachel Abbott

Tonight’s guest blog post, on the topic of novel planning is brought to you by psychological thriller novelist Rachel Abbott.

Writing your novel – how important is a detailed plan?

To plan, or not to plan? This is a contentious issue, I know. I have read several articles in which authors have said that for them, a plan is completely the wrong thing to do. They want to just go with the flow, and see where the story takes them. Fair enough – we all have our own ways of writing, and I would never claim to be an expert. I can only speak from my own experience of writing, and reading novels some novels in which it is apparent that there was no plan at all!

Much of the planning decision depends on two main issues:

  • how complex is the plot?
  • how good are you at holding lots of information in your head?

I love the freedom of being able to write without a plan, but in order to do that, I have to know every single detail of how the story fits together. In other words I need to write a plan in order to be able to write without one!

When I wrote Only the Innocent, I had an incredibly detailed plan. I had character profiles for everybody that contained a huge number of facts about their lives, and I had two timelines. One was a timeline of events, the other was a timeline of ‘secrets and clues’, stating when they were first mooted, and when they were revealed. The planning phase took as long, if not longer, than the actual writing (and the editing even longer – but that’s a different story!).

I created a sort of flowchart, showing what happened to each character before and during the action in the story, and I had a layout and images of all the key locations.

And then I started to write. By then, these characters were so firmly fixed in my head that I rarely had to refer back to my notes. I could see the house where Laura lived with her husband Hugo, and I knew exactly what was going to happen to her. So whilst maybe I didn’t actually write to a plan, it was the planning that had fixed every aspect of the story in my head, and continued to provide a check list for those times when I couldn’t remember precisely what month somebody got married or went to university.

Whether you write a plan or not, there are some mistakes in books that are unforgivable, and would be easily overcome by having a check list as a minimum. Without quoting a specific book, I was sent one to review recently. The author wrote well, and I found the characters interesting. It was chick lit (which I love when I want a break from thrillers) and not too complex on the plotting front. The main couple in the story were clearly having some problems. He was a control freak (and doomed to be dumped without a doubt). They were engaged in an activity – let’s say it was tennis. In the space of just ten pages we learned that the girl was concerned that her man had never seen her play tennis, and she hoped he would be impressed with her ability. We also learned that she had met him eighteen months previously. Then we learned that when he had last played tennis with her two years ago, he had been annoyed by how good she was (she beat him). I realise I don’t need to point out the flaws in this – but if she had just had a timeline showing when they met it would be obvious that this was nonsense. There were even discrepancies within a single day – they enjoyed an afternoon’s tennis and then they were having lunch. All of this is so easy to avoid.

What goes in the plan?

Everybody will inevitably have their own way of planning. Some people use post-its, some write out sheet after sheet of notes. I used a piece of software for my PC called Storylines for Only the Innocent. I loved the way I could write cards for individual characters and shuffle them around and the whole order of the story would change. But now that I’ve moved onto a Mac, I have bought Scrivener which is quite sophisticated, and up to now I love it. It doesn’t quite do everything I want, but it’s pretty close.

I am now in the planning phase of my next novel, and this is what I have in Scrivener at the moment:

Character profiles – these include the following sections:

  • photo (just an idea of how they might look, using images that I have found on the web)
  • name, gender, sexuality, age, date of birth
  • job
  • physical appearance
  • personality
  • likes and dislikes
  • greatest strength and greatest weakness
  • basic goal – what their goal is within the story
  • desires
  • past traumas
  • character secret
  • additional notes

Relationships

I think it is essential that the behaviour of one character in relation to another is consistent, and for this reason I create a grid of my characters. In this grid, I identify exactly what each of the characters thinks of each of the other characters. So if Ellie adores Max but thinks Charles is a pompous idiot, it is written down and I can make sure that my characters are consistent in their behaviour. When I am writing, I often refer to this if I am not sure how one character should respond to another.

Places

I have a page for each location, together with any images that I can find that show how the place looks – I currently have a stunning atrium dining room as a major focal point!

The notes to accompany the images might also include the season, sights, sounds, smells and unique features.

Research

All the research documents that I use are held within the planning software – either embedded or links. If I was planning in Word, I would add all of these as appendices.

Timeline

I employ two different methods of creating a timeline. The first of these uses a spreadsheet package. I create a row for each character and the timeline moves along the top of the sheet. First of all, I produce a timeline of their backstory – from when they were born to the current date. This shows the year (as a minimum) of all the major events in their life. Then I produce a timeline of the events within the story. I can write in the dates in which individual scenes occur, and I can play around with this so that it makes sense. It shows who is in each scene, and the date and time that it takes place. It also ensures that one person isn’t in two places at the same time.  I then transfer the scenes into my writing software, and I create a field for the date and time (if the software allows) or a note if I am just using a word processing package.

Plot points

Within each scene, several plot points will be revealed. These may just be hints “Ellie knew what Max was about to say, and gave him a sharp kick under the table.” Well Ellie might know what Max was going to say – but we don’t. I need to note this so that I can make sure that whatever blunder he was going to make is revealed at the appropriate point. Although a lot of these are pre-planned, I find that when I’m writing, things just spring into my head and so I need to keep a note. I usually keep these notes in a notebook, to be honest, because it is much easier to tick off each secret as it is revealed, and far simpler to check as I read through during the edit process.

Point of view

When I finished version one of Only the Innocent, I sent it off to be read by another author. It was a paid service, and she came back with a whole host of suggestions. One of these was in relation to point of view. She said that I was sometimes falling into the old ‘head hopping’ trap – ie looking at a scene from one person’s point of view, and then skipping to another. She gave me a tip, and that was to write at the top of each chapter (or scene within a chapter) whose point of view I was using so that I could never forget. I now make this part of the planning and not just the writing – so that I can make sure that if I am using several points of view within the book, there is some consistency.

This is just my way of planning. I would never claim that this is the right way, and I am open to any tips and suggestions. It wouldn’t work for everybody, but I have spent most of my working life with computers, and I need the equivalent of a flowchart to give me reassurance that there are no loose ends. I have been investigating flow chart programmes, but at the moment there is nothing with all the functionality that I would need (as far as I am aware).

I’d love to hear your thoughts on the subject, and good luck with your writing!

Sounds good to me. Thank you, Rachel!

Rachel Abbott is the author of bestselling thriller Only the Innocent available for all ebook formats. Visit her website for more details, or go to Amazon.com or Amazon.co.uk.

If you would like to write a writing-related guest post for my blog then feel free to email me with an outline of what you would like to write about. If it’s writing-related then it’s highly likely I’d email back and say “yes please”.

The blog interviews return as normal tomorrow morning with young adult sci-fi and historical writer Richard Denning – the three hundred and thirty-first of my blog interviews with novelists, poets, short story authors, bloggers, autobiographers and more. A list of interviewees (blogged and scheduled) can be found here. If you like what you read, please do go and investigate further. And I enjoy hearing from readers of my blog; do either leave a comment on the relevant interview (the interviewees love to hear from you too!) and / or email me.

You can also read / download my eBooks and free eShorts at Smashwords, Sony Reader Store, Barnes & Noble, iTunes Bookstore and Kobo. My eBooks are now on Amazon, with more to follow, and I also have a quirky second-person viewpoint story in charity anthology Telling Tales.

I have a new forum at http://morgenbailey.freeforums.org and you can follow me on Twitter, friend me on Facebook, like me on Facebook, link with me on LinkedIn, find me on Tumblr, complete my website’s ‘Contact me‘ page or plain and simple, email me.

 
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Posted by on April 5, 2012 in ebooks, interview, novels, tips, writing

 

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Bailey’s Writing Tips podcast episode no.47 – eBooks

The forty-seventh episode of the Bailey’s Writing Tips podcast was released today and featured two guest blog posts written by author Paul Hurst, on the topic of eBooks.

Back in September (Sunday 18th), I posted Paul’s blog entitled ‘Ebooks for writers: 101’ and the websites mentioned there were http://www.gutenberg.org, http://www.smashwords.com/books/view/52, http://www.smashwords.com/books/view/10166 and http://www.smashwords.com/books/view/47970.

Then in early January (3rd) this year Paul returned with ‘Free ebooks – friend or foe?’.

Both guests posts can be read in full from this blog’s guest blogs page.

Paul Hurst has run his own companies since the mid 1980s. Small, stable ‘niche’ affairs with the absolute minimum of overheads. Two of the companies cover his work as a musician and performer since the late 70s, and as band leader since the early 80s. Working through his business The Solutions Agency Ltd, Paul provides bookkeeping, accountancy, training and consultancy services to a wide range of small companies, drawing on his experience in banking, County Court, retail, management accounting, advertising, building, civil engineering, importing, engineering and now psychology as a student with the Open University.

I concluded the episode with some news: that I’ve almost escaped my day job to be a full-time writer and that I’d received a wonderful email yesterday from a young lady called Ashleigh who had enjoyed (and very enthusiastic about) my free eShort ‘April’s Fool’. It really made my day.

The podcast is available via iTunesGoogle’s FeedburnerPodbean (when it catches up), Podcasters (which takes even longer) or Podcast Alley (which doesn’t list the episodes but will let you subscribe) and this episode lasted 17 minutes.

Thank you for listening to the podcasts. If you have any feedback or areas you’d like covered in the hints & tips podcasts, do email me.

To-date I have posted 270 author interviews. I do one a day and am always looking for more so if you write, regardless of genre or whether you’ve been published or not, do email me (morgen@morgenbailey.com) if you’re interested in taking part.

 
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Posted by on February 5, 2012 in ebooks, podcast, writing

 

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Podcast: Bailey’s Writing Tips Episode 045 – short story hints & tips

Episode 45 of the Bailey’s Writing Tips podcast went live today, Sunday 8th January. In the last hints & tips episode (no.44) before Christmas I gave some exercises and this podcast, because I hadn’t covered the episode since April 2011 and today’s blog interview is with short story author Sarah England, had a focus on short stories. The websites mentioned were:

This episode’s sentence starts were:

  1. Charlie woke up remembering nothing…
  2. Marianne noticed the wedding ring and sighed…
  3. The glass was chipped but…
  4. Jay didn’t see her pour the liquid into…
  5. From her penthouse window Giselle could see…
  6. As Carlo sped away from…
  7. Fran bit her bottom lip as she waited for…

And there were some quotes:

  • “Words are sacred. They deserve respect. If you get the right ones in the right order you can nudge the world a little.” Tom Stoppard
  • “The pen is mightier than the sword if the sword is very short, and the pen is very sharp.” Terry Pratchett
  • “I love criticism just so long as it’s unqualified praise.” Noel Coward
  • “I’m not too keen on characters taking over; they do as they are damn well told.” Iain Banks
  • “The art of writing is the art of applying the seat of one’s trousers to the seat of one’s chair.” Kingsley Amis
  • “I write for the same reason I breathe – because if I didn’t, I would die” Isaac Asimov
  • “Life is not as short as its words. It’s so huge that not even a single man can define its existence.” (written in 2007 by Jette T. Luciano, Philippines)
  • “There are 3 rules for writing, unfortunately no-one can agree on what they are” (Somerset Maugham)

The podcast is available via iTunes (takes a few minutes – latest episode at the top, click on the relevant numbers), Google’s Feedburner (instant – latest episode at the end), Podbean (when it catches up), Podcasters (which takes even longer) or Podcast Alley (which doesn’t list the episodes but will let you subscribe).

If you have any feedback or areas you’d like covered in the hints & tips podcasts, do email me at morgen@morgenbailey.com. Next week’s episode will be three more short stories. You can also read / download my eBooks and free eShorts at Smashwords.

 
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Posted by on January 8, 2012 in ebooks, podcast, short stories, writing

 

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Guest post: ‘Contemporary Poetry 101’ by John J Hohn

I’m delighted to welcome back John J Hohn who brings us tonight’s topic of contemporary poetry.

Contemporary Poetry 101

At one time, in order for a composition to be considered poetry, it needed to be rhymed and presented with a consistent cadence. Robert Frost’s “Stopping by the Wood on a Snowy Evening” is a fine example.

                  Whose woods these are I think I know,
                  His house is in the village though,
                  He will not see me stopping here,
                  To watch his woods fill up with snow.

Frost’s revered poem is accessible, a quality often lacking in contemporary poets. Contrast Frost’s verse with Dylan Thomas’s wonderful reverie, “Fernhill”.

             And nothing I cared, at my sky blue trades, that time allows
               In all his tuneful turning so few and such morning songs
                Before the children green and golden
                   Follow him out of grace.

         Nothing I cared, in the lamb white days, that time would take me
         Up to the swallow thronged loft by the shadow of my hand,
            In the moon that is always rising

Paraphrasing Frost’s poem is easy.

I know the guy who owns these woods. He lives in town so he can’t see me stopping here to watch the snow falling into his woods. 

Paraphrasing Thomas’s work is a bit more difficult. But attempting it might yield something like the following:

When I was a young boy playing around the farmhouse and fields near it, I didn’t realize that I was growing older and moving on toward adulthood. I didn’t know that process could not be stopped no matter how delightfully I was spending my days. The days of childhood are limited and all children eventually must bid them farewell. When that happens, life becomes less carefree. It happens in a way that is very gentle but nevertheless delivers all of the young ones to the busy, sometimes frantic world of adult life where the moon still shines as a reminder as it did in childhood.

Frost spends three lines out of the twenty talking about the man who owns the woods, and yet for all that, the man is not mentioned again. Thomas packs more meaning into each line, but in doing so, become less accessible to the average reader. Further, Thomas repeats the theme of a carefree and innocent boyhood several times in words and phrases like “my sky blue trades,” “so few and such morning songs,” “children green and golden,” and “lamb white days.”

In the opening line, Frost forces his syntax to meet the demands of his predetermined rhyme scheme and set iambic cadence. Thomas has a rhythm to his delivery also, but it is not an inflexible regimented pattern. The rhythm, or flow of his lines, reinforces the meaning of the words and phrases being used.

Finally, both poets use numerous poetic conventions such as alliteration, consonance, metaphor and personification. Both deal with the universal mysteries of the human condition; Frost with the inevitability of death and Thomas with the inevitability of the end of childhood. Yet the character of each man’s creation differs radically with that of the other.

The writer who wants to compose more in manner of Thomas needs to be guided by a more demanding and subtle criteria. The old guidelines have not been replaced with new. Instead, they have redefined. Rhythm is an example.

Contemporary poets will not subordinate the thrust of a line to an imposed cadence, except for Rappers who make it obvious that rhyming and iambic pentameter should have be outlawed ages ago. The rhythm in contemporary poetry supports the feeling or thought being conveyed. Thomas’s lines are languid and rolling—carefree as childhood itself. Congruency of rhythm to a line is like a drumbeat in the jungle or a strumming bass in a jazz combo. Meaning and feeling is intimated. Rhythm is the body language of the piece. The poet’s intention would be intimated even if the language of the line were foreign to the listener.

Contemporary writers will reject rhyme when it distracts from the thrust of the line. To illustrate this point, I quote a couple of lines from one of my own poems.

            Until confusion mounts my high bed,
            And invades the flesh.

Initially, the lines read:

            Until confusion mounts my high bed
            And invades the flesh from which vigor fled.

The rhyming of “fled” with “bed” created a couplet, which, while satisfying to the ear, was nevertheless inconsistent with the feeling and thought. There is nothing neat or complete about being on one’s deathbed, as a couplet would suggest. Instead there is a slow physical deterioration, and often a terrible wait for the family, until the end.

What sets Thomas’s work apart from the traditional is his imagery. The reader is asked to take in the meaning of “lamb white days” and “the shadow of my hand” as immediate statements with an impact that overrides cautious analysis. Thomas did not what the reader to stop and think, “Oh, yes, lambs are innocent. White is the color of purity, so he must mean that his boyhood days were pure and innocent.” He wants the impact of “lamb” to be immediate and to carry all the connotations that spring into mind. Thus wooly, dirty, braying, and warm, become associations.

Likewise, Thomas wants the reader to grasp “by the shadow of my hand” for all its richness. The impact of this wonderful line is lost if the reader resorts again to analysis. While the example of the lamb is prosaic (lambs have been symbols of innocence for centuries), the shadow of my hand is fresh with the poet. The reader who has seen the shadow of his or her own hand in the moonlight will have the memory invoked instantly and the mystery, the gentleness, and the inevitability of what is happening (for the moon makes the light not the boy), is all embedded in the phrase.

It may seem that contemporary poets are breaking all the rules. Instead, they are extending and refining them. Economy of expressing, congruent rhythm, immediacy of imagery, and word choice are as important as ever, if more subtle. The contemporary poet wants the reader to share an experience as a phenomenon, as one would react coming upon something for the first time. The initial reaction is feeling—attraction, fear, revulsion, intrigue—and it is felt before the rational process overtakes perception. The poet wants the reader to react as the poet reacted. To feel as the poet felt. Contemporary poetry induces rather than explicates. It demands more of the reader. Readers are invited to make themselves available.

Thank you (again) John, this was great!

A Midwesterner by birth, John J. Hohn claims Yankton, South Dakota as his hometown. He graduated from high school there in 1957. After four years earning degree in English at St. John’s University (MN), he became a teacher. His first wife, Elaine Finfrock, also of Yankton, and he had five children; four sons and a daughter. They divorced in 1977.

In 1964, John joined The Travelers in Minneapolis, MN and began what a 40-year career in the financial services industry. During that time, in addition to The Travelers, he held positions with Blue Cross / Blue Shield of Minnesota, Wilson Learning Corporation, and Wachovia Bank and Trust. Hohn retired at the end of 2007 after 17 years as a Financial Advisor with Merrill Lynch in Winston-Salem, NC.

In 1986, he married Melinda Folger McLeod and gained a stepson. Currently, the couple divides their time each year between a cabin near West Jefferson, NC and a cottage in Southport, NC. In addition to writing, Hohn enjoys golf, music, and reading history. He has already begun work on his second novel, a sequel to Deadly Portfolio: A Killing Hedge Funds. As yet no title has been announced for the new book.

If you would like to write a writing-related guest post for my blog then feel free to email me at morgen@morgenbailey.com with an outline of what you would like to write about. If it’s writing-related then it’s highly likely I’d email back and say “yes please” (while quietly bouncing up and down in my seat with joy!).

The blog interviews return as normal tomorrow morning with Listen Up North’s Rachel Cochrane – the two hundred and nineteenth of my blog interviews with novelists, poets, short story authors, biographers, agents, publishers and more. A list of interviewees (blogged and scheduled) can be found here. If you like what you read, please do go and investigate further. And I enjoy hearing from readers of my blog; do either leave a comment on the relevant interview (the interviewees love to hear from you too!) and / or email me. You can also read / download my eBooks and free eShorts at Smashwords.

 
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Posted by on December 15, 2011 in poetry, tips, writing

 

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Transcription of BWT podcast episode 31 (Mar 2011) – hints & tips

The thirty-first episode of the Bailey’s Writing Tips podcast was released on 28th March 2011 and the content has never been released other than website links (on my website) so I hope you find this information useful. In the first thirty episodes (see http://morgenbailey.wordpress.com/bwt-podcast for details), I covered ‘show not tell’, the five senses, repetition, points of view, tenses, dialogue, characters, crime, poetry, short stories, novels, writing for children, scriptwriting, comedy, romance and chick lit, erotica, ‘writing rules’, historical & the classics, name & characters, Christmas, opportunities, songwriting, reading, auto/biographies, computer tips (parts 1&2), competitions & submissions, romance, hints & tips (parts 1&2), short stories and scriptwriting. This episode had more hints & tips.

Hints & tips

  • Crime writer Mark Billingham (who I met at the Oundle Lit Fest) says: “My advice is to write the kind of book that you’d like to read. Don’t hold on to what you’ve written for too long; get it out there. Don’t fiddle with it too much. James Lee Burke said a book is finished when ‘nothing rattles’. As soon as it’s rattle-free, leave it alone.” Another quote I loved was “Hendricks is a character I’m very fond of and if I came up with a vehicle for him, I would happily climb on board.”
  • Margaret Atwood has ten tips for writers’ block: 1. Go for a walk, do the laundry or some ironing, hammer some nails, go swimming, play a sport – anything that requires some focus and involves repetitious physical activities. At the very least: take a bath or shower; 2. Read the book you’ve been putting off; 3. Write in some other form – even a letter or journal entry. Or a grocery list. Keep those words flowering out through your fingers; 4. Formulate your problem, then go to sleep. The answer may be there in the morning; 5. Eat some chocolate, not too much; must be dark (60% cocoa or more), shade-grown, organic; 6. If fiction, change the tense (past/present or vice versa); 7. Change the person (first, second, third); 8. Change the sex; 9. Think of your book-in-progress as a maze. You’ve hit a wall. Go back to where you made the wrong turn. Start anew from there; 10. Don’t get angry with yourself. Give yourself an encouraging present. If none of this works, put the book in a drawer. You may come back to it later. Start something else.
  • www.ideas4writers.co.uk produces a yearly Date-a-base Book and the 2011 edition “lists over 1,900 historic anniversaries that will occur during 2011, giving you plenty of time to write about them” they say.
  • Gail Sher (author of ‘One continuous mistake’) said that there are ‘four noble truths of writing’: 1. Writers write, 2. Writing is a process, 3. You don’t know what you are writing until the end of the process, and 4. If writing is your practice, the only way to fail is not to write. In other words, just put pen to paper and see what happens. Final drafts are usually very different from first drafts so don’t worry if it doesn’t sound perfect or anywhere near perfect – it rarely does first time round.
  • http://novelopenings.blogspot.com has lists of novel beginnings and some are fantastic. Whilst you won’t be able to steal them, they may show you what works (or perhaps doesn’t work). An article on Suite 101 may also help. www.infoplease.com/ipea/A0934311.html is a top 100 is the 100 Best First Lines of Novels as chosen by the editors of American Book Review. My favourite is no. 49 (Iain M Banks).
  • A writer’s block tip I’ve heard is that if you’re struggling, leave the last sentence you’re at half-done and that’ll inspire you to carry on when you return to it. I found this out during our first workshop when we picked sentence starts as mine was a complete one; I really struggled continuing it but got there.
  • Another tip I’ve heard is to listen to dialogue in a film, fictional TV programme or play. Does it sound realistic? You wouldn’t leave in all the ‘ums’ and ‘erms’ or real dialogue but what works and what doesn’t? It’s often quite common for people to interrupt each other (which would be written with ‘…’ at the end of that last word) and this speeds the dialogue up even further. Without going overboard, give great consideration on how the age of the person would speak; a teenage is very different to a pensioner…in theory anyway, although having your pensioner say “hey dude” could be fun.
  • Another recommendation is to pick a random line of a book, magazine or newspaper and see if any words inspire a title or theme. Or for a more ongoing basis, whenever you buy a newspaper (ideal as they have bigger headings), cut up each word of each heading, put it in any kind of container (I have a white ceramic topless head) and whenever you want inspiration, just dip into the container and pull out a word. At Northampton Literature Group monthly writing night, we have a 4 minute write-a-thon using the same word and it’s amazing how different our stories are. We’ve also started to do a round robin one-sentence-per-person following on from the previous person’s until you get your own piece of paper back, with hopefully a completed mini-story, and it’s great fun (good thinking Alan).
  • Don’t overuse clichés. You can use them (George Lucas said “don’t avoid them – they’re clichés because they work”) but if you can find your own way of saying something and it sounds better, then go for it.
  • To write a good story, you should know the answers to why, when, where, who, what and how. There are a few websites that can help you with this. www.asimplewebsite.co.uk/content-5w1h.htm explains that it is a ‘concept originated from Rudyard Kipling – The Elephant’s Child’ and is shows as follows:
Place Where is it done?
Why is it done there?
Where else might it be done?
Where should it be done?
Person Who does it?
Why does that person do it?
Who else might do it?
Who should do it?
Sequence When is it done?
Why is it done then?
When might it be done?
When should it be done?
Means How is it done?
Why is it done that way?
How else might it be done?
How should it be done?

Ideas

Here I provide a couple of story ideas or ways to get new ideas then list seven sentence starts; each one, if you’d like to use them, for a daily writing project.

  • Take a short story you’ve written and change the male character to a female one (or vice versa) and see how the story develops; and/or
  • Now change the tense; i.e. from present to past or vice versa (assuming you’ve not written it in future tense which has been done but is quite wearing!).

The podcast concluded with Quotes, News & Feedback, On This Day in History and a haiku called ‘Summer’. I picked a haiku because it’s very short, typically being three lines; 5 syllables, 7 syllables then another 5 syllables and so therefore quick to do. Eve Harvey (Radio Litopia’s former femme extraordinaire and now involved with https://www.facebook.com/pages/The-Scribatious-Podcast/231638816884890) and I were chatting on Facebook about quantity vs quality and this is definitely quantity over quality, as it took me about a minute to write it but she liked it so I’ve not changed it and if you’ve never heard a, or heard of, haiku before, then it’s an example. There’s a great explanation of haiku at www.dmoz.org/Arts/Literature/Poetry/Forms/Haiku_and_Related_Forms:

  • The clocks go forward / summertime begins today / car boots, dog walks, sun.

That’s it. Thanks for visiting – a list of the other transcripts and summaries can be found at http://morgenbailey.wordpress.com/bwt-podcast.

 

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Transcription of BWT podcast episode 28 (Feb 2011) – hints & tips pt2

The twenty-eighth episode of the Bailey’s Writing Tips podcast was released on 28th February 2011 and the content has never been released other than website links (on my website http://www.morgenbailey.com) so I hope you find this information useful. In the first twenty-seven episodes (see http://morgenbailey.wordpress.com/bwt-podcast for details), I covered ‘show not tell’, the five senses, repetition, points of view, tenses, dialogue, characters, crime, poetry, short stories, novels, writing for children, scriptwriting, comedy, romance and chick lit, erotica, ‘writing rules’, historical & the classics, name & characters, Christmas, opportunities, songwriting, reading, auto/biographies, computer tips (parts 1&2), competitions & submissions, romance and hints & tips (part 1). This episode was hints & tips pt2. This episode also contained some competitions and although the dates have passed, I have left the details in as it will show you what was available and many competitions are yearly so they may well be run again in 2012. Please note: I can’t vouch for these competitions so do check the information thoroughly before parting with your hard-earned writing and money but having a competition win or shortlist is always a good thing to have on your writing CV so I would recommend having a go.

Hints & tips

  • Colours work really well in any kind of piece, especially if they relate to a mood; e.g. a bleak grey sky, a yellow top worn by someone with a happy disposition (others include green (often thought of as envy), white (pure/simple), red (anger/passion)). They all help the reader to picture a scene.
  • Equally when you’re setting a scene, think that buildings have a ‘feeling’ e.g. drab council offices or majestic stately home. How do they make your character and the reader feel? In some stories, the setting becomes almost like a character in its own right so you might like to consider that when writing yours.
  • Passion: I’m not talking romance (necessarily) but there should be emotions in every story. This could be desire, fear, love, grief, anger, jealousy etc.
  • Outdoor or unusual locations: rather than have the action happening in a room, how about somewhere like a forest, farm, church, boat, beach, hospital, construction site or even on a rocket? There could also be locations with restrictions e.g. library or art gallery where the characters have to whisper or to the other extreme where they have to be loud; a nightclub or funfair.
  • As well as things happening or items mentioned, think of what’s not there, using words such as no, not, never, nothing, none, no-one, nowhere, neither, nor etc. Negatives are great and it gives you another perspective to the story. Lee Child’s book ‘Nothing to lose’ is a great example: “and there was nothing in his pockets except paper money, an expired passport, an ATM card, a folding foot brush…there was nothing waiting for him anywhere else, no storage unit in a distant city, nothing stashed with friends, he owned the things in his pockets, the clothes on his back and the shoes on his feet…”. It gives a great idea of the simple life that this character leads who literally has…nothing to lose.
  • Do you ever dream? Or more importantly, do you ever dream and remember the details? If you do, write them down before you forget and see if it might make a story or poem. Dreams can often provide you with incredible stories because there seems to be such a freedom of the mind when we dream. It’s been said, ‘dreams are a window into our very soul’. If this is true, then writing from our dreams could be a great way to write from our hearts, and in that, find out what we’re passionate about. I always keep a notebook and pen or mobile (on which I can dictate) beside my bed. If I dream something that I think I can use in a story, I always jot it down for future reference. Fantasies provide us with another great way to glean new story ideas. We all fantasise at some point in our lives. It can happen in school, in a meeting, on an elevator, etc. This is another great way to open up and stretch your imagination for new stories. Take time to sit and allow your mind to take you wherever it wants to go. It’s amazing what ideas for story lines and scenes, come to light during this time.
  • Think of things that are unusual pairs e.g. a petite blonde called Buffy turning out to be a vampire slayer. You could certainly lead your reader to think one thing then have the total opposite happen.
  • You might find when you’re writing that something keeps trying to bog you down, such as that old feeling that your writing isn’t good enough and that your technique is not up to par. Don’t worry about your technique for now. Just get it down on paper, put it away for a while and move on to something else. When you come back to it you should spot where you’re going wrong (and right!).
  • Practice makes perfect – I always compare writing to playing a piano. If you’ve never played, you’re not going to come out with a concerto. Your first attempts may be more like chopsticks or even just the scales but the more you do it (even just a flash fiction length a day), the better you will become.
  • Journaling is a great tool for writers. It’s a place where we can write down all our secrets, thoughts, ideas, scenes that suddenly come to mind, sounds or smell or sights that we don’t want to forget and anything else that pops in our heads. Journals, in a way, can become a friend to us, or a confidant that we share with. For some, it is our chance to open up ourselves and become extremely vulnerable. This is a tool that writers can use to stretch and improve their writing skills.
  • Observation is a key tool to discovering how the world works. As an observer, try a few different ways to discover new ideas for your writing: Imagine the scene as if you were experiencing it or seeing it for the first time; Imagine the scene as you are now; Imagine the scene as if you were seeing it for the last time because it won’t happen again in your lifetime; By doing this you will give yourself a broader writing point-of-view. You will open up the doors to great storytelling and your characters will become much more realistic and reliable to your readers. You will also find that your readers will connect better with them. People are constantly fascinating me. The way they act, speak, watch, look, dress, walk, etc. I could sit in one spot and watch people pass by for hours. There are so many places to ‘people watch’ such as: the airport, shopping centres, buses or any other transport system, when you’re stuck in traffic, in a dentist or doctor’s, etc. Don’t just watch, but discover how the people react to what’s happening to them and around them. Ask yourself questions about why they do what they do? Why do they look happy or sad? Are they on holiday? Where are they from? Why are they here? There are so many questions, and it’s these questions that can lead you to new story ideas. Let them flow and write down your answers. People-watching can stretch the borders of our imagination. Wherever you go, always bring paper and a pen with you. You never know what will happen. You might just see something that will spark your imagination and set you on a new journey of storytelling.
  • Sounds are important to describe in any story. They give more shape and substance to your scenes. Your readers become more entranced when they are given more information. Reading should be like living for your reader. It should be a world that contains all the senses. Touch, taste, smell, sound, sight – these are all key to making your story come alive for your reader. Listen to the sounds around you, wherever you are. Take a moment to close your eyes (but not if you’re driving) and listen to what is happening instead of just watching. Write down the sounds you hear around you and give a detailed account of each of them. Good listening skills can and will increase your ability to write great stories. By listening, you become more aware and prepared to provide details of the sounds you need to make your story credible.
  • The most important thing is to ENJOY YOURSELF. Let the writing flow. Don’t worry about editing as you go along. Certainly you can edit along the way if that makes you happy. But you might enjoy the creative writing process more fully if you let your imagination lead the way – and let the creativity fall into place.
  • Talking of editing – if you take something out of a sentence/paragraph does it still work? Does it still have the same impact? If yes to both questions, then you can make the chop. Remember to be brutal as an editor is likely to put red lines through a lot of your work so if you can beat him/her to it you’ll get less red back on your manuscript. I’m as big a culprit as anyone and that’s what our Monday nights are for. J
  • Look at adverbs: if you say that something was ‘completely severed’ do you need the ‘completely’? Likewise ‘totally destroyed’ and smiled happily (unless of course you want your character to smile sadly)?
  • If you’re having trouble with a story, how well do you know it? Jot down the answers to the following questions (thanks to NAWG’s Dec 2008 Link magazine and www.writers-toolkit.co.uk) and see if this helps: What is your character’s name? (if you can’t answer that, you’re in trouble); what century is it?; what country is it?; what sort of building (if applicable) is it?; what are they sleeping on?; are there sheets and blankets?; what texture are they?; what can they see from the window?; what is the first thing they hear when they wake up?; what are they wearing?; what colours can they see?; what can they smell?; what time of year is it?; what time of day is it?; what was the last thing they ate?; what is their greatest problem? Not all the questions will be relevant but it may help, and the final question should be key to any story.
  • A tip from many a podcast – trim down the ‘ings’ as they, apparently, weaken verbs. An example would be was instead of ‘Walking into the kitchen, he picked up a knife…’ it would be better to be more direct; ‘He walked into the kitchen and picked up a knife.” I have mixed feelings on this as I think it varies the sentences but one narrator (Jordan Castillo Price in her ‘Packing Heat’ podcast said that’s a bad thing).
  • I’d be really interested to know what you when you’re writing and you need to fill something in later. Do you just leave a gap? Perhaps underlined? Or a row of crosses? A regular help for me if I’ve to add further content is to put ‘MORE HERE’ and when I go back into the document I can just select the Find option (Ctrl F) or search options and type in ‘more here’ and the computer takes me to the first/next instance/s. It’s great.
  • Writing prompts are a fantastic way of getting inspiration. You can either pick a single word (as we do in my Monday workshop group – perhaps from something you see in the room or from a newspaper) and see where it leads you, or pick some from the internet (doing a Google search on ‘writing prompt’ brings up loads of helpful links).
  • Beginnings and endings – does your beginning start with a hook? If, as is often the case, the action gets going after a paragraph or two (or more?), then either lose the first section completely or filter it in elsewhere. Equally, if you re-read your ending, do you feel that it works better without the last paragraph or two. Try finishing it earlier and see what happens.
  • On an interview I heard with Elmore Leonard (who I hadn’t realised had written ‘Ocean’s Eleven’ and ‘3.10 to Yuma’, both great films) he said don’t start a story with the weather, which reminds me of a book called ‘It was a dark and stormy night’ – a beginning from Edward Bulwer-Lytton’s 1830 novel ‘Paul Clifford’ which is often quoted as an example bad beginning. I have a book of the same name which is “the ‘best’ of the ‘best’ dreadful beginnings from the American Bulwer-Lytton contest”.
  • Endings can be tricky. They have a variety of functions; some tie everything up neatly whilst others can leave the reader to work it out for themselves. Twist-in-the-tales are very popular – Take a Break especially love them. Endings work if they provoke a laugh, tear, ooh or ahh. Tips on endings include: strong final images provoke emotional endings; the later the punch, the stronger the reader’s emotion especially with twists; you could work backwards by writing five endings (or five lines from some of your existing stories) then writing stories to lead up to them.
  • If you find a website that has some great information on the topic that you are looking for, remember that they may well have a ‘links’ page which will usually feature other websites of a similar vein. You may lose a few hours going through them all but it would be worth it if you find a gem.
  • Crime writer Barbara Cleverly suggests:
  • Listen to your work as you write. Read it aloud. If it sounds awkward, it is. Rewrite. i.e. make every effort to make your work a joy to read.
  • If you have some cash to spend on your writing, buy: Sir Ernest Gowers’ Plain Words, The Economist Style Guide, and Suspense Novels by Lesley Grant Adamson.
  • ‘Write about what you know?’. Rubbish! Seriously, how many readers are going to be interested? Write instead about what you find fascinating. Immerse yourself in your chosen background.
  • ‘Everyone has a novel in him/her.’ Again, rubbish! And if you have, one’s not enough these days. Publishers offer three book deals. They won’t take a chance on a writer who has only one book in prospect.
  • It is nearly impossible to get your work read nowadays. Choose a small reputable agent and present it neatly and professionally. If it’s crime you’re working on, the CWA Debut Dagger Award (www.thecwa.co.uk/daggers/debut/index.html) is well worth a shot. Your script will be read and if it’s any good will be noticed.
    • Writer/teacher Vivien Hampshire (http://vivienhampshire.blogspot.com) had a lovely article in Dec 2004 National Association of Writers’ Group magazine ‘Link’ which included: “What makes a good story? Forget about genres and plots and sub-plots. Read to them (new writing students) something with an opening line that hooks them in, a really strong central character they can believe in and care about, and an ending they will laugh or cry over… a story they will remember days later, a story that makes them feel good, and one that will inspire them to try having a go at writing their own. Writing is not about knowing the right words to say. It is not about some secret code that only other writers understand. It should not be the preserve of the literary snobs, all trying to impress with their in-depth knowledge. Writing comes from the heart. It’s a feeling, knowing what we like the sound of, what stories we have enjoyed, what works for us, even though we may not be able to explain why.” :)
    • I mentioned show don’t tell earlier and short story writer / tutor Joanna Barnden (http://www.joannabarnden.co.uk) has the following advice: “By using dialogue to introduce characters instead of just telling readers about them; by starting in the middle of a key bit of action instead of with passive description or a summary of events; by grasping the main scene of the story with both hands and really bringing it to life with sensory and emotional details; by showing emotions happening e.g.: ‘he flung the book down’, rather than telling us about them: ‘he was cross’. But please don’t forget the services of the sometimes neglected ‘tell’! If your story is about a woman’s relationship with her husband we might need to know that they have children, but we do not need flashbacks of her giving birth/reading bedtime stories/going to the park etc (unless they are pertinent to the key issue, such as if a child is disabled and it’s putting a terrible strain on the marriage).” Joanna also offers a very inexpensive critique and re-read service – see her website.

Competitions

  • Thanks to Auriol from Northampton, England for two travel writing competitions from Skyscanner. One has an 18th March deadline (to win an iPad!), the other is a rolling monthly Twitter-based comp.
  • http://bridgehousepublishing.co.uk/newsubmissions.aspx is seeking sci-fi stories (up to 8000 words by 31st March 2011) – for publication a year later.
  • The Buxton Festival Poetry Competition is now open and submissions are welcome until 1st April 2011 – see www.derby.ac.uk/buxtonpoetrycompetition for more information.
  • I was sent an email by www.christinemichael.org for their Thyks Poetry Competition. See www.christinemichael.org/thynkspoetrycompetition for details – deadline 30th April 2011.
  • Ware Poets Open Poetry Competition 2011: Closing date 30th April. Sole Judge: Carole Satyamurti. For poems up to 50 lines. First Prize £500. Sonnet Prize: £100.  For further details send SAE to The Secretary, Ware Poets Open Poetry Competition 2011, Clothall End House, California, Baldock, Herts, SG7 6NU or see www.poetrypf.co.uk/images/compware2011.pdf.
  • Check out all the current UK poetry competitions at www.poetrylibrary.org.uk/competitions.
  • Joanna is starting a new course on writing magazine fiction serials (most of the leading women’s magazines do them); the first one-day workshop will be held in the Midlands on Thursday April 7th – see www.joannabarnden.co.uk for info.

The podcast concluded with sentence starts, Quotes, News & Feedback, On This Day in History and a 60-worder called ‘Holiday let-down’: “Break a leg!” a colleague shouted as Dr Jack Warley left for his Austrian ski-ing holiday. He chuckled as he drove home. Just an hour later he was undressed and showered. He adjusted his dressing gown belt as he started down the stairs…not noticing his son’s toy 4×4 on the step below. He heard his fibula snap as he tumbled.

That’s it. Thanks for visiting – a list of the other transcripts and summaries can be found at http://morgenbailey.wordpress.com/bwt-podcast.

 

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Transcription of BWT podcast episode 27 (Feb 2011) – hints & tips (pt1)

The twenty-seventh episode of the Bailey’s Writing Tips podcast was released on 21st February 2011 and the content has never been released other than website links (on my website http://www.morgenbailey.com) so I hope you find this information useful. In the first twenty-six episodes (see http://morgenbailey.wordpress.com/bwt-podcast for details), I covered ‘show not tell’, the five senses, repetition, points of view, tenses, dialogue, characters, crime, poetry, short stories, novels, writing for children, scriptwriting, comedy, romance and chick lit, erotica, ‘writing rules’, historical & the classics, name & characters, Christmas, opportunities, songwriting, reading, auto/biographies, computer tips (parts 1&2), competitions & submissions and romance. This episode had a focus on hints & tips. It included some outdated competitions but I’ve left them in as they’re likely to run yearly.

Hints & tips

National Association of Writers’ Groups’ Link magazine back in June 2006 had a table entitled ‘Imagination used’ which defines how we use our brains – it was split into:

Under 5 years           95-98% used

6-12 years               50%-70%

13-18 years              30%-50%

Adults                    less than 20%

So if you think you need some help or perhaps just a little inspiration…do listen on.

  • Fellow Northamptonshire author (of the ‘Housewife’ series) Alison Penton-Harper has the following tips: write every day, even if it’s not much. Always carry a notebook. Make sure that you’re comfortable when you write so that you can become lost in ‘the zone’ without straining your neck/back/eyes. Edit ruthlessly. If it’s not essential to the story, take it out. When you can’t see the wood for the trees, walk away and leave it alone. Be prepared to accept constructive criticism, but be careful whom you ask for it. Read Stephen King’s book ‘On writing’. There may be a good writers’ group you can join where you can share the experience of the writing process and discuss your work.” Sounds good to me.
  • However trivial it may seem, write down everything. It’s also worth checking whether your phone (or even camera) has dictaphone facilities as you never know when the muse might strike. An idea that is at the top of your memory, the one that is the ‘bestseller’, and you are sure you will not forget it, will be lost almost as fast as you thought of it, if you do not write it down. Later, as you review your ideas, something that seemed so-so, may still be only so-so, but may be just the idea that you needed to jump-start a new project, or give fuel to one you are already working on. I keep two Word documents; one for ideas that may work (i.e. have enough ‘legs’) for novels/anthologies, the other for short stories (although some transferred to the novels file if the ‘legs’ become longer).
  • If you find it difficult to spare time to writing, try small chunks; ten minutes before you do anything else in the morning, while a meal is cooking or before you go to bed (be warned the latter may lead to some loss of sleep as the ideas whizz around in your brain although some authors if stuck go to sleep on an idea and have a solution in the morning). Writing is like housework or homework, if you do it in small chunks you don’t miss the time. It’s when you don’t do any for ages and have to do it in one go that you perhaps start to resent (hopefully not) the ‘loss’ of time. When I did NaNoWriMo for the first time it was surprising, knowing I had to write nearly 1700 words a day, how often I could find time to write a few words because I had to do it. If you can ask yourself at the end of each day “how many words did I write today?” and can answer with a number above zero then you should feel good. Even if you do 50 a day that’s a magazine-length short story a fortnight.
  • Something that works really well for me is to keep a small magazine holder in my bathroom containing a pot of pens/pencils and an A5 spiral-bound notebook. From a list of sentence beginnings I’d created (e.g. As she jumped off the…), I wrote one beginning at the top of each page and then I made sure that every time I spent any time in the bathroom I did some writing, even if it’s just another sentence. It’s amazing how much I wrote over short amounts of time. I’ll then type the story up when the pages are full or the story is complete (or if I get hooked on any of them and want to crack on with them quickly).
  • Back in episode 3 I mentioned the Pocket Encyclopaedia of Short Story Writing which contained a list of 350 alternatives to said (although it’s often said that ‘said’ is still the best word to use). Well, I’ve found a list of 154 courtesy of the sci-fi website Science Fiction & Fantasy Chronicles Network.
  • If your story is a little dull, look at your plain verbs. Do you have a character walking? If so, could they be strolling, ambling, jogging, dashing, sprinting or staggering? Or if s/he is sitting, could s/he be sprawling, lounging, curled up, stretched out? Or if they say something could they mumble, stutter, spew, shout or protest? Finally, if s/he is looking, could they be scanning, squinting, glaring or studying? This also helps to avoid adverbs e.g. she ran quickly = she sprinted.
  • Set aside a small empty box or plastic wallet and put all your ideas (e.g. newspaper clippings or using the notes you’ve made from your above notebooks) in it…but make sure you continue/type them up.
  • Listen to how people speak, and incorporate accents into your writing, e.g. greetings such as ‘my flower’, ‘me duck’, ‘love’ etc. (without too going overboard and confusing your reader). Local websites with video links may well be of use. www.youtube.com is also a great source: put the town/city you’re after and accent in the search box and see what comes up.
  • Even if you haven’t written a novel, have a go at writing a one-page biography, one-page synopsis (of your poem, story, whatever), humorous cover letter or, if you do have a novel on the go, the first two chapters. Then when you have a novel ready, you’ll either have the practice of everything else to go with it, or you’ll have everything ready (with, no doubt, some tweaking).
  • Get a first reader. There’s nothing like a second opinion, especially from another writer and the more the merrier. If you have email, you can swap your work quickly and easily, and do be honest with each other; someone saying it’s great (as friends and family often do) is lovely but not very helpful. Things to look out for are ‘show don’t tell’ (i.e. where something happens or is said but then you go on to explain what happened), repetitive words (unless intended), boring sections (I said to be honest) or parts that seem unclear (it’s good for the reader to have some questions but they should be answered by the end of the piece). Equally, be positive and point out parts that work. If the author knows where they’re going right then they can do more of the same and avoid repeating any bad habits or bits that don’t work.
  • Even if you’re not writing poetry, think of how your words sound e.g. alliteration http://en.wikipedia.org/wiki/Alliteration. Writing sounds better read aloud and even better with rhythm.
  • Quietly unassuming is not necessarily boring. Take Sean Connery’s James Bond for instance. He was suave and charming…but there was more to him. You don’t want to make a character dull or boring as the reader will be bored (and you’ll probably be bored writing him/her) but you can make them surprising; lead them in one direction (or appear to be one thing) and then reveal a hidden layer – like someone coming on to the X-Factor stage and it being assumed from their appearance that they are going to be awful but then they open their mouth… that’s how Susan Boyle became such a success.
  • With any story it’s vital to keep a pace, and therefore the reader’s interest, going. Keep the scenes short and to the point but, in fiction mainly, leave holes so that threads tie up nicely at the end. A mix of short and long sentences is always good, as are questions that rest in the reader’s mind as they read. As well as bringing the story to life, dialogue is very important as it splits up the prose (and should always advance the plot) but stories work well with a good mixture. If you remember that dialogue usually shows and narrative generally tells, and the golden rule is “show, don’t tell”, then it’s best to have a mixture of both for the story to work well. Dialogue is also a very economical use of character development as you get a feel for the character by what they say as well as their tone.
  • I’ve mentioned song lyrics before and it’s worth listening to your favourite (or not so favourite) songs as most tell a story. While the lyrics themselves are copyright, the story they tell isn’t. Or a quicker way is to look up the lyrics online (e.g. www.lyricsdirectory.com or www.findmelyrics.co.uk) and if there are any stories that appeal, re-write them as fiction (obviously also changing any names).
  • If your story isn’t quite working, try changing the viewpoint (i.e. from 1st person (I) to 3rd person (he/she) or vice versa – or have a go at 2nd (you – mentioned above)) or by tense (present to past or vice versa). Present tense is very immediate and often works really well.
  • Endings: Do you, or have you ever thought about starting with the end of your story? Lucy from my writing group mentioned a while back that that’s how she usually starts her poems. Most people have an idea of where their story will end but it’s a great idea to try an ending as a starting point then work backwards and see if it helps your writing. Whilst endings should round off all the loose ends, if you plan to write a sequel (or even a series) then leaving it at a cliff-hanger, as you would at most chapter endings.
  • Speaking of endings, here’s a tip courtesy of a podcast I heard a while back. Think about the order within your sentence. Apparently the last half of a sentence has more impact to a reader than the first half and therefore the action should happen at or towards the end. The example given ‘They swam across the river on a very hot day’… was suggested to work better as ‘On a very hot day they swam across the river’.
  • Think of double-meanings. For instance one of my beginnings is Advert: ‘Part-time lover wanted. Must be flexible…’ which could be taken in at least two ways. Others include ‘As a small business, Heald’s Nursery was struggling…’ (is the nursery a kindergarten or garden centre?) and Holly was prickly at the best of times… (plant or woman?). The Two Ronnies were famous for their double-entendres (do you remember 4 candles?). ‘Your nuts, my Lord’ is another example; see the 2-minute video at www.youtube.com/watch?v=l2e0afvMYqI&. A link to Fork handles (and many others) is on the same page. Be warned, you could be watching for hours. In the recent ‘Up in the Air’ movie with George Clooney, there was a scene where an air stewardess gives him a drink then is perceived as asking “cancer?” but when he’s clearly confused, she repeats it slow as ‘can sir?’ then holding a can out. I’m not sure why the scene was in there as it didn’t further the plot but it was useful for this podcast. :)

Competitions

The podcast concluded with sentence starts, Quotes, News & Feedback, On This Day in History and a 60-worder called ‘DIY doh!’: “Women are useless at DIY” Josh scoffed as he watched his girlfriend getting some steps out to change a light bulb. “Give them here!” He grabbed the bulb and ladder to do the job himself. Wearing slippers, he carefully stepped up, did the deed – then cut his finger on the old bulb as he threw it in the recycling!

That’s it. Thanks for visiting – a list of the other transcripts and summaries can be found at http://morgenbailey.wordpress.com/bwt-podcast.

 

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