Daily Archives: July 27, 2011

Transcription of Bailey’s Writing Tips podcast episode 016 (Dec 2010) – historical

The sixteenth episode of the Bailey’s Writing Tips podcast was released on 6th December 2010 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 fifteenth episodes (see for earlier blog posts), 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 and ‘writing rules’. This episode had a focus on historical fiction and the classics.


Wikipedia’s section on historical novels ( explains that the historical novel “a novel that has as its setting a period of history and that attempts to convey the spirit, manners, and social conditions of a past age with realistic detail and fidelity (which is in some cases only apparent fidelity) to historical fact. The work may deal with actual historical personages…or it may contain a mixture of fictional and historical characters”. Historical fiction may centre on historical or on fictional characters, but usually represents an honest attempt based on considerable research (or at least serious reading) to tell a story set in the historical past as understood by the author’s contemporaries. Those historical settings may not stand up to the enhanced knowledge of later historians.

Wikipedia also has sections on historical whodunnit (Ellis Peters’ Cadfael and Umberto Eco’s ‘The Name of the Rose’ are prime examples), historical romance (Georgette Heyer’s regency-set books are usually in this category…Mills & Boon also have a ‘regency’ series), alternative history (‘alternate history literature asks the question, “What if history had developed differently?” Most works in this genre are based in real historical events, yet feature social, geopolitical, or industrial circumstances that developed differently than our own. While to some extent all fiction can be described as “alternate history,” the subgenre proper comprises fiction in which a change or point of divergence occurs in the past that causes human society to develop in a way that is distinct from our own’) and historical fantasy (many of which are set overseas, Guy Gavriel’s books are set in Renaissance Italy, Byzantine Greece, Moorish Spain, Medieval Occitania and Viking England).

Examples of historical novels are Kate Mosse’s ‘Labyrinth’ which was written in 2005 but set in both the middle ages and present-day France. Likewise, Philippa Gregory’s 2002 novel ‘The Other Boleyn Girl’ (made into a film in 2008) was about 16th Century Henry VIII’s complicated love life. Kazuo Ishiguro’s 1989 novel ‘The Remains of the Day’ was set in 1956 with 1930s flashbacks and many of crime writer Sally Spedding’s books are set in present day and in historically darker times. Closer to home, Judith Allnatt’s first novel ‘A mile of river’ was set in 1970s England. So, the bottom line is that a historical novel doesn’t have to be set centuries ago but just not in the present day. Be careful though…things change so quickly (especially products) that you have to be careful about getting your facts right.

Classics are historical to us but they were written about the, then, present times. These include works by Jane Austen, who in just four years wrote Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814) and Emma (1815). Northanger Abbey and Persuasion were both published after her death in 1817, and she died before completing her last, eventually titled Sanditon.

  • is packed with adaptations, list of characters, plot etc. Many classic novels are made into television series or films and often many times over – Jane Eyre was made into 8 silent movies, 6 musicals and nearly 20 TV/movie versions!
  • And who can forget (if they’ve seen the film) Colin Firth’s Mr Darcy (which, coincidentally, the Daily Mail gave away on DVD recently…as part of a series of 12 classic films)?
  • Charles Dickens’ 1843 novella ‘Christmas Carol’ has been made into over 70 stage, radio and tv adaptations (
  • Going back a bit is Shakespeare (1564-1616). Regarded as the greatest writer in the English language and he was certainly prolific…38 plays and many poems including 154 sonnets.
  • Going back even further are classic classics! Typing in ‘classical fiction’ in Wikipedia’s search and you get…Greek fiction! There’s a link on this page which takes you to ancient literature ( which goes back to 24thc B.C.!

Modern day classics…. how recent can a classic be? I know I harp on about Wikipedia but it’s a fantastic site. Their ‘modernist literature’ page ( lists Virginia Woolf, T. S. Eliot, Gertrude Stein, H.D., Ezra Pound, Mina Loy, James Joyce, William Faulkner, Ernest Hemingway, Franz Kafka, Robert Musil, Joseph Conrad, Andrei Bely, W. B. Yeats, F. Scott Fitzgerald, Luigi Pirandello, D. H. Lawrence, Katherine Mansfield, Jaroslav Hašek, Samuel Beckett, Menno ter Braak, Marcel Proust, Mikhail Bulgakov, Robert Frost and Boris Pasternak as modern classic authors. Postmodern literature is used to describe certain tendencies in post-World War II literature and details are found on

Hints & tips

The book ‘Writing historical fiction’ by Rhona Martin explains that “there are many different kinds of historical novel – the family saga, the romance, the nostalgia novel, the adventure story, the ‘straight’ historical and many different ways of approaching them. But however you may choose to handle your theme it is essential that the novel is well-constructed and believable, with a strong sense of period and a storyline which keeps the reader turning the pages.” Rhona’s book includes the:

  • process of researching…my copy of Rhona’s book is dated 1988 so there is no mention of the internet. However there are other tips. Rhona said that research is like an iceberg…only the tip must show but the rest of it lurks invisibly under water has to be there to support it. If it isn’t, the whole thing sinks and your effort will be wasted. Don’t worry about over researching. If you don’t use a piece of research in one book or story, it could be used in another piece. How do you decide what is or isn’t relevant? Ask yourself if it carries the story further; if it doesn’t it is better left out. Research can include anything for instance clothing – what colours were available to the man in the street? Historically, dyes were extremely expensive to make and were the traditional colours of royalty. Pre-internet, Rhona suggests going to the library or museums or buying books on the era that you writing about. She also mentions that many universities and other educational bodies offer weekend seminars on history. You can also, of course, watch films of the period which comes in handy with…
  • effective use of dialogue and language…no-one in ‘Pride and Prejudice’ is going to say “yeah, innit” and in the 16th/17th centuries, land-owners were likely to use a language different to their farmhands and men to women. Whilst only men could legally own money, the girl of independent spirit could only let off steam behind the scenes and had get her own way by underhand methods.
  • the ‘structuring and crafting of your work’ section includes ‘the opening’, ‘keeping the pages turning’, ‘structure and working methods’, ‘bringing it to life’ and ‘getting it right’.

There are hints and tips in Rhona’s book from leading historical novelists including Rosemary Sutcliff (Wikipedia’s page is a very interesting article/biography about this English author), Winston Graham OBE ( most famous for his Poldark series and Jean Plaidy ( – born Eleanor Alice Burford) who had sold 14 million books by the time of her death (1993 – at sea, somewhere between Greece and Egypt!). Eleanor chose to use various names because of the differences in subject matter between her book – under the pen name ‘Victoria Holt’, she sold 56 million books(!) and 3 million as ‘Philippa Carr’. Rhona also touches on the categories within the genre, namely: romance, hot historical/bodice ripper, blockbuster (250,000 words), big adventure, family saga, straight historical and the nostalgia novel. She also goes through the whole getting published route. Thereafter is what to do if you get rejected but more positively, follows the subjects of sequels and writing full time.


  • ‘Writing historical fiction’ by Rhona Martin (mentioned above) by A&C Black is part of a series. Other titles include ‘Writing Crime Fiction’ by HRF Keating, ‘Writing a Thriller’ by Andre Jute, ‘Writing Science Fiction’ by Christopher Evans, ‘Writing for radio’ by Rosemary Horstmann, ‘Research for Writers’ by Ann Hoffman and ‘Word power – a guide to creative writing’ by Julian Birkett.
  • ‘Bernard Cornwell’ ( has written nearly 50 novels, most of them about his character Richard Sharpe (played by on TV by British actor Sean Bean). He says, and Rhona agrees, when writing historical fiction, one main thing to be careful of is to write in the manner of the time, especially with dialogue. This is where research comes in. Unless you read a lot of historical fiction, you need to ensure that everything you write fits into the era. I remember one of my school play competitions, Oscar Wilde’s ‘The Importance of Being Ernest’ (which is set in the late 1800s), where we came second because the judge said that one of our actors was wearing a digital watch! I know it’s not the same as writing but you still need to check and double-check for inaccuracies. Again, this is where an Editor or Agent would come into play but you still want to get it as accurate as you can before getting to the submission stage.
  • Needless to say there are hundreds of history reference books on the market, these include ‘The strange laws of Old England’ by Nigel Cawthorne, Hutchinson’s Pocket ‘Chronology of World Events’, Faber’s ‘Book of London’ and Philip’s and Brockhampton’s books of ‘World History’ and then there’s ‘The English Family 1450-1700’ by Ralph A Houlbrooke (published by Longman).


  • sells books, audiobooks and DVDs from many eras including topics of general history, pre & ancient history, AD-1100AD, Medieval, 16thc, 17thc, 18thc, 19thc, 20thc, World War 1, WW2, military history, genealogy, natural history and even crime & investigation!
  • also sells historical books by author and title.
  • The Historical Novel Society ( claims to be ‘the best place to find out about new historical fiction’. The Society, formed in 1997, promotes all aspects of historical fiction and provides support and opportunities for new writers, information for students, booksellers and librarians and is a community for authors*, readers, agents and publishers. *Clicking on the website’s ‘authors’ link takes you to a list of over 150 authors registered with the site – including the Jacqui Bennett Writers Bureau (mentioned in handout 7) and ‘Historical Romance UK’ which is a blog ( for lovers of historical romance and written by HR authors. In case you’re wondering what a ‘blog’ is exactly (and that included me at the time!) Wikipedia explains…” A blog (an abridgment of the term web log) is a website, usually maintained by an individual, with regular entries of commentary, descriptions of events, or other material such as graphics or video. Entries are commonly displayed in reverse chronological order. “Blog” can also be used as a verb, meaning to maintain or add content to a blog. Many blogs provide commentary or news on a particular subject; others function as more personal online diaries. A typical blog combines text, images, and links to other blogs, web pages, and other media related to its topic. The ability for readers to leave comments in an interactive format is an important part of many blogs. Most blogs are primarily textual, although some focus on art (artlog), photographs (photoblog), sketchblog, videos (vlog), music (MP3 blog), audio (podcasting) are part of a wider network of social media. Micro-blogging is another type of blogging which consists of blogs with very short posts. As of December 2007, blog search engine Technorati was tracking more than 112 million blogs. With the advent of video blogging, the word ‘blog’ has taken on an even looser meaning of media where the subject expresses opinions or simply about something.”
  • contains a comprehensive list of historical fiction authors including Colleen McCulloch (of the Thorn Birds fame), Bernard Cornwell, Philippa Gregory, Patrick O’Brien and more. The home page is rather messy but probably only because it’s packed with so much information!
  • details a guide to the best historical novels and tales and many are downloadable from this site free of charge. Project Gutenberg is a collection of spoken books which have been compiled by voluntary narrators. Their site is
  • BBC’s history section ( which “is dedicated to bringing history to life, for the casual browser and the total enthusiast. Experience history through animations, games, movies and virtual tours, or delve into more than 450 feature articles by leading writers.” It includes topics on ancient history (Anglo Saxons, Egyptians, Romans, Greeks, Ancient India, British Prehistory etc.), British History (Normans, Tudors, Abolition, Victorians etc), World Wars (one and two) and Recent History (Sept 11, Falklands, Northern Ireland and Iraq). It also has an ‘on this day’ section where you revisit historical events on the current day or select particular days/months. Their ‘Resources’ section includes listings on history TV and radio programmes, interactive content, British timeline (chronological summaries of key events) as well as an A-Z on historic figures (selected short biographies) and history for kids pages. Finally, their ‘Practical History’ area has details on archaeology, family history and history trails. That should keep you going for a while!
  • is another book selling site and claims to be “the preeminent internet publisher of literature, reference and verse providing students, researchers and intellectually curious with unlimited access to books and information on the web, free of charge”.


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

  • Take a modern story, one you’ve written or know well, but set the characters in a certain time in history – how would they cope? Would they know about the era? How would the people around them react to them?
  • Do the same for a classical or historical story and set the characters in present day – how would they react; to modern technology, for instance?

And today’s sentence starts…

1. The stretch limo pulled into the gravel drive…

2. “Safety is our number one priority, Mr Houdini.”

3. George had been waiting for an opportunity like this for years…

4. Clark’s hand quivered as he touched her skin…

5. “Please don’t leave,” Rhoda begged her…

6. “Could you be any colder?” Ryan growled…

7. Andy pulled at his ear lobe…

The podcast concluded with News & Feedback, On This Day in History and two Fibonacci poems.  I first heard about Fibonacci in one of Judith Allnatt’s ( tutorials and, whilst I don’’t write much poetry, it’s one that even I don’t find too taxing. As good old Wikipedia’s page ( explains it’s based on a mathematical sequence where the first two Fibonacci numbers are 0 and 1, and each subsequent number is the sum of the previous two, i.e. the sequence starts 0, 1, 1, 2, 3, 5, 8, 13 and so on. The poems are based on the numbers as syllables, but obviously you can’t have a word with zero syllables so it would start at 1. Here are two examples…

  • Slug / snail / spider / inch by inch / they crawl over me / until I scream “please let me out!”
  • Pete / the / dragon / had a cold / As he sneezed the flames / faltered at the back of his throat

That’s it. Thanks for getting this far – a list of the other transcripts and summaries can be found at


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Transcription of Bailey’s Writing Tips podcast episode 015 (Nov 2010) – mixed topics inc. writing rules

The fifteenth episode of the Bailey’s Writing Tips podcast was released on 29th November 2010 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 fourteen episodes (see earlier blog posts), 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, and erotica. This episode was a mixed bag.

Hints & tips

W. Somerset Maugham once said that there are three rules for good writing but no-one knows what they are. I think there are more than that and have come up with a few. To use a cliché (I’ll be mentioning them again later), I’ve only scratched the surface so will be passing along other gems from time to time.

  • This sounds really obvious but a short story or novel should have a start, middle and end. I was one of the judges on a local short story competition recently and one of the fifty stories I judged only had a middle. Whilst it should have been disqualified before it reached me, it lost some major points (I start at 10 and work downwards; although two of the stories I judged got the full 10/10) for not sticking to that golden rule.
  • The basic premise of a good story is that you have a character who wants something, or to achieve something, and there is an obstacle in his or her way. It’s often described as a three-act play (of course not necessarily in a play format). First of all you have your set-up (the location and characters), then the confrontation / obstacle and finally the resolution. And most importantly the character must have learnt something by the end. Even in the gentler stories, such as those found in People’s Friend magazine, the obstacle can’t have been removed by someone else, otherwise the story falls flat. The character can have help but he or she must have learnt by what’s happened. This also means that there doesn’t to just be one obstacle in his or her way – there is likely to be for a short story but in a novel, or film, there are usually two major obstacles. Taking Sleepless in Seattle as a classic example, apart from the geographical distance between Meg Ryan and Tom Hanks’ characters, Meg’s already engaged and Tom’s met someone that his son disapproves of so Tom’s son takes it upon himself to get him together with Meg, which we know will ultimately happen but if it was just a case of the two of them getting on a plane, it would be a less interesting and much quicker movie. The film was actually inspired by An Affair to Remember which had many similarities except for Deborah Kerr’s accident being the added complication stopping her meeting the lovely Cary Grant.
  • Have a mix of dialogue and description – long patches of description can put some readers off (including me). One of my poets, Pat M, loves narrative but I sigh at a chunk of text and tend to skim through it, so you won’t necessarily win whatever you do but it’ll vary the pace of your writing; quick dialogue interspersed with slower passages of description.
  • Genuine dialogue is the most realistic but don’t overdo the ums and ers. It has to sound realistic and your characters can have quirks but too many and it’ll become annoying.
  • Vary your sentence lengths – short sentences increase pace but too many and it’ll get tiring. Like description, longer sentences slow the pace and a mix of both is highly recommended.
  • Don’t overdo the ‘he/she said’ – if you’ve got two people speaking you don’t need to label every line of dialogue. Every sixth or thereabouts should do it, or you could find other ways of indicating who’s saying what, for instance have a character mention the other person’s name or mention what the person is doing, like… Eve jumped off the sofa. “Hold on, Frank!”
  • Equally you want to avoid having too many adverbs. You don’t have to say “Oh no!” she said frustratingly. We know by what she’s saying that she’s frustrated.
  • Don’t try to be too clever in the words you use. A good story can be simply told – a strong character- or plot-based story is much more rewarding than one with overly flowery language.
  • Show don’t tell – this is a phrase you’ve probably heard before but it’s a major tip. The best way to explain it is, for example, ‘She was angry.’ is tell (where the narrator is telling the reader how the character feels) but ‘She slammed her fist onto the counter.’ shows us that she was angry.
  • Something that isn’t talked about so often is ‘direct’ and ‘indirect’, or ‘active’ and ‘passive’. An example of indirect would be ‘her arm was broken by the fall’ – this is where something happens to a character rather than a direct action such as ‘she broke her arm falling off the sofa’ and a reader is going to feel more empathy with the character if it happens to him/her.
  • I’ve mentioned the five senses before. You should automatically have sight (what’s happening), sound (dialogue) and touch (unless your characters aren’t carrying anything, holding hands etc) but you may well not have smell and taste. Unless your character is eating something, taste may be a sense that isn’t going to be included because it’s not appropriate, and that’s fine, but wherever your characters are there are going to be smells so it would add another dimension for the reader to include this.
  • Colours. It’s amazing how many short stories I’ve read, and have written over the years, that don’t mention colour. Don’t go mad saying a character has brown hair while wearing a black dress and walking to her blue car but a splash of colour here and there does again add to the reader’s visualisation of a scene, although you want to leave something to their imagination.
  • Avoid repetition wherever possibly unless you are reiterating or explaining something, for example to say ‘Sarah saw the car pull in to the drive. The car was dirty.’ You would want to say something like ‘Sarah saw the car pull in to the drive and noticed how dirty it was.’ Or it would have more impact with something like ‘Sarah saw the dirty car pull in to the drive and watched the man put on a balaclava’, although of course it depends where your story is going but just her noticing that a car is dirty isn’t newsworthy but emphasising the car, using repetition’ by saying something like ‘Sarah saw the car pull in to the drive. It was the sort of car that was non-descript; silver, dirty, average size, but Sarah felt there was nothing ordinary about this one.’
  • Also sets of three work well. Unless you’re specifically listing something then having three items or descriptions work better than two. Of course you could have said that the non-descript car was silver and dirty but it doesn’t seem to flow as well, unless you avoid using it in list form and use the description as an adverb: a dirty silver car which would be fine.
  • Always use distinctive names. You don’t have to use unusual names but ideally avoid the same starting letter, for instance having a John, Joe and Joseph in the same story is likely to get very confusing.
  • Be concise. In short stories and flash fiction every word counts. In novels you can ‘waffle’ a bit (which is probably why I like writing them) but it still has to be related to the story or ‘move it along’ (i.e. it has to be going somewhere to warrant being in it). Whilst you won’t be able to match the likes of Ernest Hemingway’s 6-word story (For Sale: Baby Shoes, Never Worn) and unless it’s for a competition, you probably wouldn’t want or need to. But look at your story paragaph by paragraph or line by line and if a story can manage perfectly well without it, then it can come out. Don’t throw anything of any substance away though – unless it’s particularly specific you could probably use it elsewhere. The great thing about computers is that you can have varying versions of the same document so if you thought something had to go but then you realise that it’s key, you can go back to an earlier version and retrieve it.
  • As well as chopping out sections that may not be appropriate, there may be stronger ways of saying something, for instance instead of saying ‘hit hard’, ‘thumped’ would not only be more concise but it’s also a great example of an onomatopoeia – which website Wise Geek ( explains is a language technique or device used to create an effect in or for the reader.
  • Also there may be simpler alternatives to words; for instance instead of using ‘go back’ would ‘return’ be better? It may only be losing one word but if you have a word count limit, it may make all the difference.
  • Redraft – first drafts rarely look much like the finished article so don’t worry if it sounds like a load of rubbish. If the story works then that’s brilliant but most writing is a work-in-progress and will need some polishing before it can go anywhere. The chances are that it could be but put it away for a week or a month then look at it again with fresh eyes. Apparently horror writer Dean Koontz polishes each page 25-30 times.
  • Read your piece out loud – you are more likely to hear what is wrong if you do. It also helps to spot that you are consistent with your viewpoint and tense.
  • Podcaster of Packing Heat and erotica novelist Jordan Castillo Price says to avoid “info dumps”. She says that a snappy introduction works really well and gave “Space: A final frontier” as a classic example. The beginning must be a hook and start where the action starts – if the action starts three paragraphs or pages in, chop the beginning completely or feed it in later in the story. It’s very tempting to throw lots of information at the reader so you think they know where they are but letting them get to know a character first and feeding bits they need to know in as they go along, works much better and they’ll retain more of it. Jordan also says there shouldn’t be any more than two adverbs (for example; nervously or happily) per chapter! Whether this is achievable or not is another matter. Also recommended is to avoid the words: very, actually, really, totally, quite, already, fairly and much!
  • Equally, stop where your story feels right to stop. I’ve read some stories (and again written some) where I’ve felt the conclusion is earlier than it ends up being. If all the threads are tied up and the dilemma resolved, the chances are that that’s it.
  • A question sent to Writers’ News Helpline column a while back was from a reader wanting to know how to indicate when someone is shouting. Rather than use capital letters or exclamation marks, columnist Diana Cambridge suggested simply using verbs such as he/she shouted, screamed, shrieked, bellowed, thundered, yelled, barked brayed or boomed. So, plenty of choice.
  • If a story isn’t working, is it because you’ve got it in the wrong point of view? If you’re on a computer create another copy of the document then take a particularly meaty chunk of the story and change the point of view. For instance if you’re writing a third person viewpoint story, is it not working because you don’t feel connected with your character or is it because it’s first person and you’re finding it too limited because you can only know what character is thinking about. Or you could try a totally different angle or re-write it in second person viewpoint (Wikipedia’s ‘narrative mode’ page – has more details on second person and I also mentioned it in episode two.
  • If you’re struggling with a particular character, another option would be write a monologue from that person’s point of view. Have them talking about what’s going through their mind. Whilst it may not be relevant to the story you’re doing, it’ll give you an insight into the character. Most writers will have their characters take over and guide the writing and anyone who doesn’t write heard that they’d probably think we were mad and it does all come from our subconscious but it is amazing how and what actually comes out so if you know anyone who doesn’t write but may have the slightest inclination to do so, I’d heartily recommend it.
  • If the point of view in your story is fine, is the tense the best one for it? For instance if you’re using past tense and it seems too disconnected, would it feel more realistic in present tense. Even if it’s a historically-based story, there’s no reason why it can’t be set in the present tense. Or if you story is set in the present tense, you might find the tight timeframe too intense and wish to plan to story over a longer period of time.
  • These two seem like quite drastic changes but if something’s not working it may take you longer battling on as it is than taking a look at what might be making it stick.
  • Try a twist ending. Some publications such as The People’s Friend that I mentioned earlier, don’t like twist endings but generally they are incredibly popular but which in turn means that writers need to find cleverer ways of fooling the reader into thinking one thing where in fact the complete opposite happens – but with clues peppered in along the way; easier said than done? Most definitely. But they’ve been around for years. Roald Dahl was a master at twists – hence the popularity of his Tales of the Unexpected.
  • They say to write about what you know. I volunteered recently at last weekend’s Chorleywood Literature Festival (and have recorded a review of it which I hope to release in the next few days) and one of the authors I met there was said in one of her reader discussion groups that she doesn’t write about her life because she deems it not interesting enough but she does write about her experiences so you never know when something that might appear mundane at the time could end up being fodder for a story you write in the future.
  • However well you know a topic though it’s likely you are still going to have to do some research and we’re really lucky that we have the internet to get information from. Whilst it won’t give you the feel of a place, it’s perfect for checking odd facts that either you’ve forgotten or where were missing that one final ingredient that will make your story authentic. If it’s not accurate, there are bound to be readers who will know and let you know! That said, even the most famous of authors have had people writing to them to point out inaccuracies so you can only do the best you can do.
  • Formatting – in the UK most guidelines request a double-spaced, single-sided manuscript in Times New Roman font size 12. This obviously can vary but one thing I hadn’t realised until I started submitting was that the first paragraph of a story, chapter or section, is NOT indented but the rest of the section are. Where you have dialogue to start, the first person’s speech wouldn’t be indented but the other person’s would be. And remember that where different characters are talking or creating action, their text should be in different paragraphs.
  • Again, this is probably stating the obvious, but take a notepad and pen with you wherever you go. Neither has to be anything fancy but how annoying is it when you think of something brilliant then have nothing to jot it down with and have forgotten it by the time you get somewhere to make a note of it. I keep a mini pad and pen in each jacket and bag I own just to be sure. Then at night, I keep my mobile handy so that if I think of something, I don’t have to switch the light on, just type it in the diary or jotter sections or record it into the Dictaphone – most mobiles have them; even my five year old Nikon compact camera does.
  • One of the most important, and again probably obvious, things to say is that you should enjoy writing story. If it’s boring you, the chances are that you readers will be bored too. If you’ve been working on a piece for too long a period of time, put it away (unless you have a deadline to stick to) for a few days, move on to something else and then come back to it when it’s a little less familiar. This may sound bizarre but if you also have a character who’s bored or a story where nothing happens then this will easily turn the reader off.


Here I normally give you a couple of story ideas or ways to get new ideas then list seven sentence starts picked from my Twitter page; each one, if you’d like to use them, for a daily writing project. However, this time I’ve thrown a few more in…

  • Try looking around the room for inspiration. Pick six words at random and see if they will make a story. Either that or have the actual words included in your story; the quirkier the better.
  • Pick one of those words and set a timer for 10 minutes. You may only get a piece of flash-fiction length out of it but you may be surprised where it can take you. If you have time, set a reminder at a certain time every day and do a series of 10 minutes exercises. Even if it only lasts a week, it may spur you on to keep writing, and however you get on, you’ll have had more written than if you’d not done it at all.
  • Take a look at a story you’ve finished (old or otherwise) and check that it has all five senses.
  • Write down a list of clichés that you know and see if you can find unique alternatives – is a great example of existing clichés.
  • Sites for example similes are (as clear as mud… for example) and metaphors ( – he was an ox of a man); see if you can come up with original alternatives (better ones than those in other words)!
  • A lot of writers talk about ‘What if?’ Stories work well when a new angle is looked at. Take an ordinary situation and think ‘what if’, perhaps with a quirky twist, and there’s a great book by Anne Bernays and Pamela Painter called ‘What if? – writing exercises for fiction writers’ which Amazon’s UK store, as an example has from £1.53 plus postage & packaging, or $3.95 in the US store.
  • I went to a writing workshop with novelist Toby Litt at the Chorleywood Literary Festival a few days ago and he got us to write down three objects, four names, three places (countries) and three emotions then said we had to cross out one object, one name, one place and an emotion and see whether what we had left would make a story. Apparently that was one of fellow novelist Ali Smith’s ideas so thanks to both of them for that. The majority of the workshop focused on dialogue which I mentioned near the beginning of this episode but also asked us to write down a portable object that we’ve always wanted but had never owned. On reflection I would have said an iPhone but at the time I couldn’t think of anything and came up with a pain-free back. I know it technically broke the rules but it did get me writing. We then had to think of a place that we could never go back to and I thought of my father’s first camera and art shop which was later made into a house so whilst I could physically go back to the location, I could never step inside the shop again. We were also asked to create a character of someone in disguise so I thought of a con man posing to be someone he wasn’t.

And today’s sentence starts…

1. As she/he put the flower on the grave…

2. Ethel and Hilda were best friends until…

3. Spring was Anne’s favourite season because she…

4. Craig lifted the veil and gasped…

5. With just 100 yards to go, Bertie…

6. “Come on, I can’t wait forever.” Kim tapped her foot repeatedly.

7. Amicability was not was Marline had planned…

The podcast concluded with News & Feedback, On This Day in History and a 60-worder called ‘Dating heaven’:

The Brington Advertiser’s lonely hearts advert read ‘gentle giant 40s sought for romantic picnics and cinema visits by petite blonde late 30s, reply to PO Box 147’. Eve waited for over a week for replies to trickle in but by the second week she’d had fifty. She sifted through them and found her ideal man, Adam…a match made in heaven!


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Today’s sentence starts at Twitter’s @sentencestarts

I have two writing-related Twitter profiles, the main one being and the other is, the latter of which does what it says ‘on the tin’. Here are the beginnings posted today (to do with as you wish):

1559. I try not to get upset… (first person)

1560. You try and smile… (second person)

1561. Kathy realised too late that the slide was made for a child-size bottom… (third person)

1562. The message looked ominous… (you can use any pov)

1563. As I pick up the… (first person)

1564. He clearly isn’t taking you seriously… (second person)

1565. As Clarence slapped the paint / glue on the… (third person)

1566. It had been a dare but… (you can use any pov)

1567. We’re all here aren’t we (first person plural)

1568. You know it’s a hard life… (second person)

1569. Blake gasped as the… (third person)

1570. Striding past the shop window… (you can use any pov)

Each set of four contains for different points of view so if you are weaker at one than the others, you may like to try these first. One of my favourites is the second-person point of view which is rarely used and not particularly commercially welcomed. It’s where the narrator is talking to the reader (you) rather than talking about him / herself or another person and I’d recommend anyone who’s not tried it before to do so. It may take a bit of getting used to but hopefully it’ll grow on you as much as it did me. 🙂

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Posted by on July 27, 2011 in sentencestarts, tips, Twitter


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