The New Writer Issue 117

PLUS ALEXANDER
McCALL SMITH
January/February/March 2014 | Issue 117
I love deadlines. I love the whooshing noise they make as they go by. Douglas Adams
January/February/March 2014 Issue 117
What does a literary agent actually do?
Write a synopsis Prepare a manuscript Create a character collage Structure sentences Write for the How to market
Creative Writing Residential Courses with Alice Oswald and guests

A wonderful opportunity to develop your creative writing with acclaimed poet Alice Oswald and her guest writers in the inspiring setting of Sharpham House and gardens in South Devon. Come and join us in a spirit of exploration to create new works on the theme of Myth and the Natural World. Enjoy the opportunity to experience creative writing as co-enquiry. Within a supportive atmosphere, you will be encouraged to give and receive feedback about your own work and others. Suitable for anyone interested in developing their creative writing from those just starting out to more experienced writers.
Alices six poetry collections include Memorial, Dart, (winner of the T S Eliot Prize for Poetry), and Weeds and Wildflowers, which won the inaugural Ted Hughes Award for New Work in Poetry. In Sept 2013, she won the 25,000 Warwick Prize for Writing 2013 for Memorial (Faber and Faber), her glitteringly original poem, which is a reworking of Homers Iliad.
Cost
395 residential Some limited non-residential places @ 290 Limited bursaries are also available. Courses can be booked individually or as a series.
Dates
10 13 April 2014 12 15 June 2014 18 21 Sept 2014
Book online at www.sharphamtrust.org or tel: 01803 732542
c on t e n t s
PLUS ALEXANDER
McCALL SMITH
Features
A R E YO U A B OR N W R I T E R ? A Quiz by Glynis Scrivens
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How to
8 WRITING TOGETHER, W R I T I N G A L ON E . . . . . . . . . . . . . . . . . . . . 6 Character Collages F I N DI N G A S T RUC T U R E
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All xxxxx. Xxxxx
What does a literary agent actually do?
I S AW A H AW K . . . . . . . . . . . . . . . . . . . . . 10 Caroline Beaton is inspired at the Pembroke College Summer School
Cover photo
Jacqui Lofthouse provides useful hints
James Polley
Madeleine Milburn tells us what Agents actually do W R I T I N G G RO U P P ROF I L E Publisher Guy Pringle Editors Alison Glinn Madelaine Smith Guest Poetry Editor Anne Caldwell Subscriptions Mel Mitchell mel.mitchell@thenewwriter.com Design Park Corner Design Ltd Editorial Consultant Merric Davidson Digital Consultant Nathan Davidson www.digitaldavidson.co.uk The New Writer 1 Vicarage lane Stubbington, Hampshire PO14 2 JU Telephone 01329 311419 Pencils & What-Nots
M E E T T H E AG E N T . . . . . . . . . . . . . . . . . . 1 8
Jacqui Lofthouse explores this tricky issue PITCH PERFECT
F I N DI N G T H E VOIC E . . . . . . . . . . . . . . . 2 2
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Fiona Shoop looks at non-ction proposals WAY S I N T O P U B L IC AT ION
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Judith Heneghan tells us of plans for the future P OE T R Y I N F O C U S
WINCHESTER WRITERS F E S T I VA L . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Zoe Fairbairns provides a handy list.
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Anne Caldwell On Self Publishing with a Twist
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Andy Key shares tips for preparing a digital manuscript T H E R E A R E N O RU L E S Nick Asbury on doing it. I N T R AY
T H E T Y P E W R I T E R I S DE A D . . . . . . . . 4 2
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Regulars
W H AT S N E W . . . . . . . . . . . . . . . . . . . . . . . . 7 A round up of writing news and information P OE T R Y P ROM P T . . . . . . . . . . . . . . . . . . . 39 W R I T E R S B O OK S H E L F
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Suzanne Ruthven looks at writing for the How to market W R I T E R S G RO U P T H E R A P Y
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Simon Whaley Too Scared to Go OF F S C HO OL T H AT \ DAY
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A round up of writing book reviews W R I T E R S P ROM P T
Zoe Fairbairns looks at sentence structures
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Simon Whaley Taking turns W R I T E ON
W R I T E R S G RO U P T H E R A P Y
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Fiction & poetry

A short story by Simone Davy K I T SU N E . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 P OE T R Y S E L E C T ION . . . . . . . . . . . . . . . . 31 P OE M ON A P O S T C A R D . . . . . . . . . . . . 4 2 DI E B AC K . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 4 A Readers Challenge response by John Bainbridge
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Your letters and comments
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S U B S C R I P T ION S A N D S P E C I A L OF F E R S . . . . . . . . . . . . . . . . . . . 63 GET WRITING All raw materials used in the production of this magazine are harvested from sustainable managed forests. Every effort has been made to trace ownership of copyright material, but in a few cases this has proved impossible. Should any question arise about the use of any material, do please let us know. F I V E B O OK S
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Author Alexander McCall Smith picks out the ve books that made him a writer
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A piece of micro-ction by Paula Fusco
SI L LY B I L LY . . . . . . . . . . . . . . . . . . . . . . . . . 5 8
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W H AT S NEW?
Our regular column of news snippets and insights into the world of writing Harrogate Crime Writing Festival Plans for the 2014 Festival are already well underway and for any fan of the Crime genre this is the occasion to put on your calendar now. Taking place at the Swan Hotel the Festival will run between 17th 20th July. Conrmed authors include Ann Cleeves, Peter May, Gillian Flynn, Sophie Hannah, S J Watson and Mark Billingham. For more information and to book email crime@harrogate-festival.org.uk
Dreaming Spires The Oxford Literary Festival takes place from 2230 March 2014. The line-up and venue details are still in the process of being nalised and will be added to the festival website as they are conrmed. The Festival features a week-long creative writing course. www.oxfordliteraryfestival.org
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Oxford Picture Library
New Poet in Residence at Dove Cottage

The Wordsworth Trust has just announced that their new Poet in Residence for 2014 is Zaffar Kunial. Zaffar was born in Birmingham and currently lives in Shefeld. He was placed third in the National Poetry Competition in 2011 and was awarded a Northern Writers Awards in 2013. At the Wordsworth Trust he will engage with the thriving contemporary poetry programme, giving readings, taking over the monthly group the Dove Cottage Poets, and gaining inspiration from the visiting poets who regularly go to Dove Cottage. He will also be given plenty of time and space to work on his longawaited rst collection.
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w h a t s n e w ?
newbooks Readers Day a date for your diary Saturday 28 June 2014 Alongside their agship shop on Charing Cross Author Jennie Rooney at newbooks Road, Foyles have been Readers Day 2013 steadily expanding across London since they 10 New Year opened their rst new Resolutions branch in 2005 at the What does for writers a literary agent actually do? Royal Festival Hall. They 1. Read more 2. Write every day now have branches in 3. No time is no excuse St Pancras International, 4. Always carry a notebook 5. Try something new Westeld London, 6. Walk in someone elses shoes Westeld Stratford City 7. Trust someone to read your work 8. Give honest feedback to others and Bristol. they ask In January 2014 Foyles will 9. when Get that writing out of the drawer and off into the world be opening a new store at 10. Remember you ARE a writer Waterloo Station. Watch Oh yes and this space for more news 11. Renew your subscription to The New Writer later this year.
ALEXANDER McCALL SMITH
PLUS ALEXANDER
McCALL SMITH
2014 January/February/March Issue 117
Join the newbooks team in Winchester for the third newbooks Readers day. Publisher Guy Pringle has run successful author events for the past ten years and newbooks readers look forward to the readers day which has become a regular in the calendar.
Poetry at the Museum

The Mary Ward Centre in Queen Square, London is running from April a poetry course with a difference. Each week the class will go to the British Museum and look at one particular object. With the notes students have taken in the museum, and the tutors background material, students write a poem at each session. The course lasts 6 weeks from 29 April and costs just 45. There are concessions available. www.marywardcentre.ac.uk
January/February/March
2014 | Issue 117
I love deadlines. I love the
whooshing noise they make
as they go by. Douglas Adams
Pure Bliss
The theme for The Independent Bath Literature Festival 2014 is bliss: the feeling of pure joy and inspiration we get from the written and spoken word. The festival takes place between 28 February and 9 March and will have more than 150 separate events during this period. Prepare to be inspired, cheered, challenged, moved and uplifted. www.bathfestivals.org.uk
Readers Challenge
Using the theme of Summer Holiday we encourage you to produce a piece of micro-ction of no more than 500 words and to send it to editorial@ thenewwriter.com with the email header Readers Challenge 117. A selection of the best will be published in a future issue of The New Writer. Usual rules of submission apply and only one story per subscriber.
Spotted! Send us a photo of you or a writing buddie reading The New Writer.
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w r i t i ng t o ge t h e r , w r i t i ng a l on e
Character collage
Writing together, writing alone

CHAR ACTER COLL AGE
w r i t i ng t o ge t h e r , w r i t i ng a l on e
Character collage
This is an exercise that I rst came across at one of our Writing Groups Christmas Jollies. We had agreed to meet at a local hostelry for a few hours, intending to share some exercises before lunch. Most members turned up with notebook and pens, but one brave soul lugged in a heavy box, with promises to reveal all later. She was a primary school teacher so we awaited revelation with mixed feelings.
The images to create these collages were cut from a number of magazines over a number of years. No breach of copyright is intended by their use
C ON T E N T S OF B OX ( F OR A G RO U P ) Paper preferably A3 and plain white Scissors several pairs, including childrens craft scissors as they produce zigzags and wavy lines when cutting Glue several sticks are best but a pot of glue with several brushes works too Magazines try to make it a good mixture, use fashion and home magazines, catalogues, in-house magazines, theatre publicity leaets in fact anything with interesting images that you dont mind being destroyed L O C AT ION For a group this works best around a big table. M E T HOD Each person has a sheet of paper and access to the scissors, glue and magazines.
I N T E N T ION The idea behind this exercise is to try to bring one of your characters to life using only cut out images. It may surprise you; after all your character is well known to you, youve been writing about her for ages, but then you need to choose which shoes shed wear, which bowl she had her porridge in, which chair she chooses for reading Its amazing how often a character that lives in your head lacks any physicality. This exercise helps. You do not need to add in your writing that she wears brogues and listens to Classic FM while peeling potatoes, but if you know this about her it will help to create a more rounded person. I found it particularly helpful when I was working on a story about four women. They had begun to merge together in my mind, and making a collage for each one helped to clarify their individuality. I stuck the collages on the wall while I was working on the story.
I L LU S T R AT ION S The images used to illustrate this page include collages about being a teenager, a woman unexpectedly falling in love with a vicar and a character who is at a crossroads in her life. C ON C LU S ION It may seem childish, but it works. Have fun!
Get Writing Do try this exercise, either alone or with your writing group, and remember to send us the results, as they may be included in a future issue Also wed love to hear of exercises that went down well with your group, or that you found particularly helpful as a starting place for yourself.
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Are you a born writer?

To nd out take this quiz devised by Glynis Scrivens
Perhaps youre not sure whether you can honestly describe yourself as a writer? Lets face it; its quite an admission, its not like saying youre an accountant or a teacher. They dont have to produce a ledger or a classroom of students to support their claim, but you? If you havent had anything published theres an onus on you to prove it. Even if the pressure is just coming from within yourself. Answer the following questions, as truthfully as you dare, then see how you score. Once and for all, youll know whether or not youre a born writer. Here goes. Be honest!
a r e you a b or n w r i t e r ?
Glynis Scrivens
Do you nd yourself attracted to people who are creative, nding others a bit dull?
Do your friends hate watching whodunits with you because you always work out who the killer is? Do you ruin dramas for them by predicting what will happen next? Even if youre wrong, your suggestion is plausible, and they accuse you of having watched it before.
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When you were a child, did you regularly lose yourself in books, wishing you could stay in their secret world rather than having to inhabit the more mundane one your family occupied? Did you check your wardrobe, hoping to nd a secret panel at the back? Did you yearn for a pet monkey, despite never having known a real person with one, just like Barney from Enid Blytons Famous Five? When a cowboy rode his horse into the sunset, did you wonder what lay beyond?
s your idea of torture I spending a weekend watching golf or Indie car racing?
When you visit a new friend for the rst time, do you check out their bookshelf to see what they read? Do you feel pleased if a new friend loves similar authors to yourself? Would you doubt your choice of friend if you found they didnt have a bookshelf?
Did you get into trouble at school for looking out the window? Were there times when the teacher asked a question and called your name, and you suddenly realized your mind was miles away? You had absolutely no idea what theyd asked you, and had to rely on the friend sitting beside you to whisper something or write a surreptitious note.
hen someone asks what you do, do you W hesitate? Your nine to ve job is what you do, but it doesnt really dene you, does it?
When you idly ponder who youd most like to meet in the afterlife, do you nd most of the people on your list are writers?
When you got your rst job, did you keep thinking is this it? Bored even when you were doing everything that was expected of you? Wondering what job to apply for next? Knowing part of you would probably always be unfullled in a nine to ve job.
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Do you keep a personal diary? Have you kept one for years?
a r e you a b or n w r i t e r ?
Glynis Scrivens
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How did you score?
If you had to spend ten days on a desert island, and were allowed to take ten items, would one of them be a pen and another a large notebook? Would this be an automatic choice, one you didnt need to think about?
For every Yes give yourself 10 points For every Sometimes, 5 points For every Never, 0 points Add up your total points.
Score of 100 170
When someone is speaking to you, have you ever thought Ive got to use that line?
Lets face it you were born to write. Theres no longer any doubt about it. Admit it from now on to anyone who asks what you do. Stop asking yourself if you are one just get on with it. You should be the one writing these quizzes not reading them.
Score of 80 100
Do you sometimes secretly relish the plot of some of your dreams? Wondered how your brain devised something so complex and intricate and so utterly unrelated to your everyday life? Do you close your eyes in the hopes of re-entering the wonderful scenario your mind has created?
Secretly you know youre born to write but are afraid to mention it out loud in case anyone makes fun of you or doesnt realise how seriously you feel about it. Youre in the category of Uncertain. My advice to you is the same as above. Forget what others think; just write what is in you to write. The rest will follow.
Score of 0 80
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At moments of crisis or high intensity, does a part of you remain detached, observing what is happening? Not something you can confess to your nearest and dearest, or they might consider you heartless. But something youve noticed happening on more than one occasion?
You should keep your day job and allow yourself to dabble to your hearts content in your spare time. Seek like-minded folk, buy some writing magazines, and start keeping a notebook and pen with you at all times.
S T OP ! T H I N K AG A I N Youve answered the questions and added up your scores. Probably read the advice too, but theres a problem, quite a large one. Why did you bother to answer these questions? These particular ones simply reect aspects of me and some of my own writing friends, our personal tastes and idiosyncrasies and habits. Someone else could have compiled a list of questions that didnt include any of mine, but which still covered plenty of other writers. This isnt a one size ts all vocation and never will be. Each of us is just the tip of the iceberg. The reality is that absolutely anyone can be a writer. You dont have to be an absentminded clutter bug. You could be a top sportsman and write sci- in your spare time, possibly a kitchen goddess like Nigella and draft notes for vampire stories between courses. There really is only one criterion for being a writer; that you write. Its as simple as that. Dont listen to anyone who says otherwise, or tries to impose a denition. These quizzes are fun to complete and to compile. But never let anyone tell you youre not a born writer. T I M E T O AC T Its time to stop dilly-dallying. Writing magazines arent an end in themselves, and quizzes like this are fun but shouldnt be taken seriously. Theyre simply a catalyst. Something to stir the creative juices. So pick up your pen and start writing. JUST DO IT.
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Have you ever accidentally eavesdropped, and then found the conversation so interesting you couldnt walk away?
When you read a magazine article or a story, do you sometimes stop and say to yourself, I couldve written that?
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Do you keep magazines and books beside your bed, and always have pen and paper handy? Are other things more important to you than being tidy?
A born writer
Writing chick-lit?
p e m brok e c ol l ege w r i t i ng s u m m e r s c ho ol
I saw a hawk!
I SAW A HAWK!
B Y C A R O L I N E B E AT O N
D
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uring my last week at the National Academy of Writings three-week summer Creative Writing program, I saw a hawk atop the grey wall bordering one of Pembroke Colleges ne lawns. I was writing in Pembrokes coffee shop with my new friend Pam. I said, Pam! Look! She got really excited and went outside to investigate. I stayed inside to write. After all, I knew what it was. De nitely a hawk. I ignored the hawk and wrote about a puppy getting run over by a car. My protagonist, Lucy, was a stay-at-home-wife married to a loving but boring
businessman, Derek, and they were shopping for a dog as a companion for Lucy. My inner vision was this: Lucy picks out the perfect puppy, Derek buys it and then accidently runs over it and kills it. Lucy decides to divorce him. My supervisor, Australian novelist Peter Salmon, emphasized the importance of asking the right questions about these charactersto know them well enough to presume to know what happened to them. I understood the concept. But that afternoon Peter had asked, Does Lucy wear slippers? Irrelevant!!!
p e m brok e c ol l ege w r i t i ng s u m m e r s c ho ol
I saw a hawk!
But that was before I saw the hawk. I was well on my way to killing the dog and destroying Lucys marriage when I looked again. The bird was a steel blue colour with penetrating black eyes. And despite my (artistic) compulsion to squash Lucys puppy, I stared at the bird, the at sky behind it and the immense stones in the wall, glued together with what seemed to be nothing but time. Pam stood outside, squinting with her head cocked. The hawk preened itself. Beyond a wrought-iron gate, outside the College, tourists passed by. None of them saw the hawk, but tourists miss the most essential things. Like Pembroke Colleges library, which reeks of timeworn books and resonates with archaic after-hours meet ups; the high-ceilinged fourteenthcentury rooms above the coffee shop where my supervisions were held and Ted Hughes lived while studying at Pembroke; the carriage lot, the glorious six-foot thistle outside my dorm staircase, the magnicent birds I was pondering whether a hawk could kill the dog when Pam returned and reported, Its a pigeon. No its not, I told her. She laughed and said, Yep, it is. Biggest pigeon Ive ever seen I think the perspective is just weird, she said. Looking again I saw that the bird was absolutely a pigeon. Maybe its an owl, I said. Its a pigeon, she said. Just then another pigeon landed next to the rst, and both of us knew that was a pigeon. I started writing again. I was elaborating on my clever symbol of the puppy when I remembered that my other supervisor, Director of the National Academy of Writing Richard Beard, had recommended deciding ones theme lastor, better, never. More important are the storys objects, people, places and events, he said; the theme assembles itself from these foundations. What he was getting at, I reected, is the art of capturing something as it is, not as you imagine, want, or create it to be: when the idea is forced, its fake (and nobody buys it). I watched, with newfound fascination, the pigeons peck around and rufe their feathers. What a tourist Id been! In frantic search of the exotic, we miss the familiar reality of what is common. Yes of course Lucy wears slippers, I realized. She is scrupulous and defensive. Her slippers are yellow Kate Spades. She seeks to instill harmony in her home and her marriage and subconsciously understands that a new dog would disrupt both. Then I recognized what Peter and Richard had waited patiently, like mother ducks, for me to encounter myself: the puppys death wouldnt destroy the marriage; its
death was necessary to save the marriage! Thus Cambridge taught me to revel in, and ultimately www.thenationalacademyofwriting.org.uk creatively communicate, the www.pem.cam.ac.uk/creativewriting2014 ordinary. The divorce drama I craved was not consistent with my charactersordinary people trying to get by, to make a marriage work. I had learnt to stay true, as writers ought, to human experience. When I recommend this program, as I frequently do, I emphasize not Cambridges world-renowned reputation, beautiful buildings, or name-brand instructors (all of which it of course has, making it both high-calibre and cool), but rather my personal transformation in how I see and write the world. What I remember from Cambridge is feeling both comfortable and humbled, I remember my peers with their playful passion for understanding and language, and I remember my nurturing yet demanding supervisors who encouraged me to persist as a writer. In the end, Lucy forgives Derek for running over the dog. Their dog shopping mission has failed, but their marriage has not. While my writing still has far to go, the National Academy of Writing course at Pembroke College provided the components I needed to move my work from novice invention to fulledged reality. All photography Tim Rawle
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In 2013 The National Academy of Writing designed a residential Creative Writing Programme hosted in the beautiful surroundings of Pembroke College Cambridge. Students have full use of the facilities of the College while following a world-class course of study involving leading gures from the UK literary world. In 2013 the programme welcomed Sir Michael Holroyd and Ion Trewin, Literary Director of the Man Booker prize, among the plenary lecturers. Alongside the lecture series, students participate in seminars, classes and small group workshops modeled on Cambridge University supervisions. In 2014 the plenary lecturers will include Carnegie Medal winner David Almond, former literary editor of the Times Erica Wagner, Costa Book of the Year Winner A.L.Kennedy and Oscar nominated novelist and screenwriter Deborah Moggach. Supervisions will be taught by awardwinning writers Kerry Hudson, Christie Watson, Nick Hogg and Francesca Brill. The course convenor is the Director of the National Academy of Writing Richard Beard. This course is suitable for writers of ction and narrative non-ction of all levels, and those with an interest in screenwriting. A three-week programme (27 July 15 August 2014) with an optional fourth week (1522 August 2014).
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shor t s t or y
Kitsune by Simone Davy
SHORT STORY
KITSUNE
B Y S I M O N E D AV Y
Reminiscent of old folklore, we liked the touch of magic realism in this story. The growing sense of mystery leads the reader through the story.
ichael peered through the crack in the door and watched as his wife cleared up the chicken carcass from supper. He saw her pull out the wishbone, bite off the sweet meat with her sharp teeth, and then lick the bone quickly with her tongue. He shuddered and let the door swing open into the kitchen he wanted to distract her from her foraging. Freya turned around, wiped her mouth quickly with her long slender ngers, and let her hands fall to her sides. Are you coming to bed? he asked. Its late. Ive just carved up the bird to make a stock. I wont be long, she replied. She tiptoed lightly to the fridge with a bag of bones in her hands - she never seemed to walk. He moved forward and circled her waist with one arm. He couldnt resist stroking the back of her neck; downy and red. He had always been entranced by her height. My hands are too greasy for that. She pushed him off gently, her chestnut eyebrows slanting downwards in gentle annoyance. On the landing he glanced in at Alice. The nightlight placed her in a circle of pale gold. Her duvet was twisted as always in a heap at the end of the bed. Freya slept under a cotton sheet even on the coldest night. He let the duvet billow out over the bed until it was smooth and enveloped her as though he were placing the shell back onto a freshly cracked walnut. He pulled out her long red plaits and let them curl around her shoulder and lie undisturbed on top of the quilt. Their bedroom unsettled him more than usual. His side was sparse, a spot light and a crime novel on the table with the book mark in the right place. Her side looked as though she had created a wilderness of scarves, jewellery and silver hair brushes, all tangled up with red strands of hair. A half-drunk glass of milk had turned sour on the bookshelf. He bent down, picked up some dirty clothes and tossed them into the laundry basket. The heavy velvet curtains were slightly open as if shed peered out to check how dark it was and forgotten to close them. He threw open the window to rid the room of the scent and was startled to see his wife standing in the centre of the grass looking as though she were about to run. Freya! His voice was a barbed wire fence, keeping her captive. Im coming, she said looking up at him, resigned. She shook her head, irritated at being disturbed again. She offered him no reason for being outside. Shall I wash your feet for you? he asked as she came into the room. She never wore slippers or Crocs like other women. Theres no need, she said. I can do it myself. But she came and sat down at the head of the bed. She leaned against soft white goose down pillows, long legs stretched out towards his hands. He rolled up her jeans and rubbed the crevices and meandering streams that mapped her feet. She closed her eyes, her
s hor t s t or y
lashes brushing her face. I dont know how you can walk around without shoes. He looked at the soles of her feet as if they would tell him a story. Theres a thorn, didnt you notice? No. How can you do this to yourself? His voice was loud and impatient. He bit his bottom lip. Carefully he pulled out the thorn with a pair of silver tweezers and smoothed the skin with cocoa butter. He looked up at her face, but there was no sign of pain. She opened her eyes. They startled him, as always, with their greenness. I wish youd stay, he said without thinking. Its not fair on Alice. He saw her wince. I found a key ring for you last night. She took it out of her pocket. Do you like it? A small jenny wren hung from a silver chain. She often brought gifts; white and red berries in winter, apples, pears and blackberries in late summer. Hed nd them scattered on the kitchen table or sitting in china bowls at the end of the bed. Recently the gifts had changed; rings, gold watches and tiny silver charms. Where did you nd it? he asked her. She took her feet from his lap and swung them onto the sheepskin rug. Oh, along the road, someone must have dropped it I think Ill take a shower. She dropped the wren into his lap. I dont want Alice to see them; I dont want her to be like you, he said as he picked up the key ring and put it in the box where hed been hiding her other gifts. Shell never be quite like me. Michael sighed and curled into the space where she had been. With eyes closed and the sound of the shower near, he nestled behind the heavy cloak of a waterfall. Most nights he lay awake waiting for her to leave, and then to return. His days at the ofce were always tinged with tiredness. She climbed into bed with damp hair, wearing only by a slight silky gown. He felt desperate to touch her, but she had not come to be with him or sleep. In the past she had stayed the whole night. At those times he would wrap himself around her, taking in her scent; wood, moss and fern. But it was rare now. Tonight Freya was ready to ee from their bed at his merest movement. He kept as still as he could and wondered for the thousandth time why she had chosen him. The night they had met shed lost her keys in the multi-storey car park, and without hesitation she had trusted him to take her home. As the car had spiralled down from level ten to one he knew that he had lost his way. He woke up to the sound of Alice crying out for him. As he jumped out of bed to go to her, he saw that Freya was gone. I was ying above a forest. It was really dark. I couldnt get out, Alice said, shivering. Michael sat beside his daughter and wrapped his arms around her. Wheres mum?
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shor t s t or y
Sleeping, like you should be. He pulled himself away and tucked the duvet around her as she lay back down onto the cotton sheet. Are you sure shes here? He looked at his daughters rosy complexion and red hair, and felt cold. While her friends took street dancing lessons and turned decimals into fractions she danced around the playground and talked in rhymes. Will she make me crumpets for breakfast? Of course. Shell make you anything you want. But as he spoke he saw just the two of them standing at the hob, perplexed at how to make the holes appear as the doughy mixture spread unevenly across the pan. They said goodnight and blew kisses to one another; a habit he hoped they would never lose. Wide awake, he knew he wouldnt sleep. The light from the neighbours landing sent shadows across the stairs. He tried to convince himself that Freya would be in the kitchen eating honey on toast. She had such a sweet tooth he would often catch her with her tongue around the honey dipper. But she was not there. His anxiety grew as he noticed that the back door was wide open. The warm July air welcomed him and he sat down on the step, taking in a deep breath and peering into the darkness. He could hear the hum of trafc on the bypass and the quiet tapping of his neighbours cat ap. The conifers needed lopping; they stopped the moon from lighting up the garden. His head spun as if it were he that was running away. Freya. He spoke too quietly for his wife to hear, but the bushes rustled as she emerged onto the lawn. A neighbours night light transformed the garden into a stage. He felt some relief at the sight of her, though this soon dissolved. She stood, transxed, staring at him; those eyes told him everything he didnt want to know. Then she danced; in the darkness her tail thrilled him as she turned it into a rainbow of bronze, copper and gold. Her smooth and gleaming body pranced and spiralled above the grass. It was hard to imagine her anywhere else but out with the company of the night. Come back in, he whispered. He knew how easy it was to startle her, to scare her away. She stopped, poked her nose into the air, seemed to smell a heady scent, maybe spiced meat, and ran. It was as if he had stood up and promised to chase, catch and keep her forever. Im sorry. He listened to the sound of trees and bushes rustling as she ran along the back of the gardens. He waited a while hoping that she would return. The dew settled on his slippered feet and a chill rose up and wrapped itself around his shoulders. Cold, he went back inside and left the back door ajar. He looked in on his daughter. She was asleep now. He always checked on Alice when Freya was not there. He had read stories in the papers of men who woke in the middle of the night to nd their wives and children gone. Then there were men who beat their wives to make them stay; he swore he wouldnt become one of them.
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But she was not there. His anxiety grew as he noticed that the back door was wide open. The warm July air welcomed him and he sat down on the step, taking in a deep breath and peering into the darkness.
Michael woke alone in the morning to nd the sheets on Freyas side smooth and cold to touch. There were no gifts at the end of the bed, no strands of red hair on the pillow and the room smelt of freshly cut grass. He called her name as he went downstairs. He hoped to nd her curled up on the sofa, but just a green angora cardigan lay on the arm of the chair. In the kitchen, the door had swung open in the early morning breeze. He could hear the sound of the refuse collectors dividing up bottles and tins. He hoped they wouldnt wake up Alice. Freya had not returned. He wanted to nd her, tell her he could no longer live like this and then secretly slip sleeping pills into her camomile tea before she went to bed at night. He ran to the front door and opened it wide, hoping she would walk straight into his arms. The street looked as though it were moving; a milkman delivered groceries to an elderly woman and a girl skated by with headphones mouthing the words of a song. He wanted to shout at everyone to stop, tell them his wife was missing, and insist that until she returned the day could not begin. As he stepped out of the house a neighbour, Jonathon, came towards him. Morning, mate. Michael hated that expression. Jonathon wore a smart suit and looked as though he had something stuck to his tongue. Sleep well? Fine, said Michael. What was he meant to say? Took Tanya a while to get off. She was worrying about Freya. Why? As soon as he asked the question he wished he could swallow it, and not hear the reply. He half listened as he watched to see if Freya would wander down the street. She might have just popped out to the bakery for a baguette wrapped up in a brown paper bag. It would still be warm as she broke off a chunk and gave it to him to eat. Are you listening mate? Yes, I was just He held back the words looking for my wife. Tanya saw her outside again last night. She was looking in through our window. It was late. Michael hesitated as he never usually lied, but for Freya hed say anything. Youre wrong. She was with me.
s hor t s t or y
Jonathons face puffed up and reddened. Well, Im just telling you. Anything could happen to her out at night on her own. I just told you it couldnt have been Freya. They stood looking at one another, shocked by the sound of their rising voices. Michael was relieved to feel a warm hand slip into his own. His daughter leaned against him sleepily in her Mickey Mouse pyjamas. Morning, Dad. He smiled down at her. Brakes screeched. There was a loud thud followed by a piercing cry. His chest tightened until he could barely breathe. Come on, he grabbed Alices hand. Together they ran down the road, his feet heavy if only he could y. The foxs green eyes were wide open, its fur deeply gashed, and blood owed across the tarmac. Michael looked for a movement in her body, but there was none. The car window opened and he recognised the driver as one of the mothers at Alices school. I didnt see it, it ran straight out, she said. Doesnt matter. Foxes are a bloody nuisance anyway, arent they? Jonathon said, as he caught up with them. Michaels knees folded beneath him. He found himself crouched down close to her. His hand touched that delicate place between the eyes where the fur is
the softest. He breathed in her musky scent. He was no longer aware of his neighbour, or the woman who had killed her. Is she dead? Alice asked. Her voice broke into his thoughts as he turned from the fox. Yes, shes gone. She couldnt stay any longer. As he spoke Michael noticed that there were small white pearls scattered all over the road. He leant over and carefully collected them up in the palms of his hands. He was surprised by their warmth; they seemed to glow. He passed them one by one to his daughter until her hands were full. You keep these, he said. They were meant for you. His daughters shadow sheltered him as he knelt there, hollow with loss.
Kitsune: Fox (Japanese) Japanese folklore tells of vixens that are transformed into women. Their husbands, whom they entrance, have to live with the understanding that they will be left on their own. Simone Davy won the 2013 Sophie King Prize for romantic ction with her story New Flavours. Simone lives in Surrey with her family where she works by day as a Social Sciences tutor and by night she is writing a novel.
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thenewwriter.com
15
Finding a structure
t h e w r i t i ng c o a c h
Finding a structure
In a new series of articles Writing Coach Jacqui Lofthouse explores structures in Fiction
B R E A K I N G I T D OW N I N T O S TAG E S Sometimes the idea of coming up with an entire structure for ones book can seem overwhelming, so I suggest breaking the process down into manageable chunks. The tasks that might appear on your structural to-do list might look something like this:
hilst I often write about the necessity for allowing a plot/structure to grow organically, it is also true that there are times in the writing process when it becomes vital to think structurally. Indeed, there are no hard and fast rules about whether one should plot/structure a book in advance or during the process; it is all a matter of opinion. Whilst I would argue that if one plans an entire novel in advance before one has even begun to explore the characters one runs the risk of ending up with cardboard characters in an overly plotted world at the same time, this risk can be overcome if one is willing to work hard on characterisation during the process of writing and also be open to plot changes that occur as one gets to know the characters better. As there are no rm rules for when to structure a book, let us assume that you have simply reached a point in your writing when your instinct tells you that it is time to get some structure in place. This might be your initial rough outline on a piece of paper, prior to even beginning or it might be something that you dont develop until youve written an entire rst draft. This article is simply to give you a few tools to use if you are ready to put a structure in place for your novel.
Read through manuscript written to date to ensure youre fully familiar with what structure is already in place Take notes about that structure and ask yourself what is already working and what is lacking in your current structure Read other books in your genre (where appropriate) or genre-specic books about the writing process and take notes on what youve learnt. Read books on the subject of plotting such as Syd Fields Screenplay (one can learn a huge amount from Hollywood structure) or Robert J. Rays The Weekend Novelist. Take some rm decisions about narrative voice. How will the narrative voice work over the book as a whole? If there is more than one voice, how will the voices be spaced across the book? Get a huge sheet of paper on the oor and scribble a big mind-map of ideas for the plot or spread post-its out across the oor anything that will give you a visual sense of your structure Ask yourself the questions (below) about your work Make a full list of scenes or chapters, including those you have already written and those you have yet to write Journal around the holes that you currently perceive in your structure how might you mend them? Go for a long walk and let it all lter through
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Finding a structure
I better make the plot good. I wanted to make it grip people on the rst page and have a big turning point in the middle, as there is, and construct the whole thing like a roller coaster ride. Mark Haddon
Q U E S T ION S T O A S K YO U R S E L F These questions have links to traditional Hollywood narrative, so are not relevant to more experimental ction, but most writers can gain something plotwise from answering these simple questions. These are simply starting points for your story and in any individual story there will be many, many more areas for you to resolve. Remember: the story is all the events that have ever happened to the characters, but the plot is how you order those events within the book. Anything that happens before the main plot begins is backstory and it is never a good idea to have huge chunks of backstory at the beginning of a novel. At the beginning, it is best to focus on current action and to allow backstory to lter in slowly at appropriate moments for the character. For more advanced writers, some of the advice here may seem simplistic. The questions are simply a starting point for getting clear on your story. Of course, more complex story-models may include more than one plot strand or huge jumps in time or a specic plot device or rule such as this novel takes place in the space of a single day or the rst half of this novel takes place in WW2 and the second half takes place in modern-day Tuscany one story echoes the other and there are thematic links. This point, in essence, leads to a few nal questions:
1. D o I know where this book sits in the marketplace? Who is my audience? What genre am I writing in? 2. Who is my protagonist? Is there more than one protagonist? 3. What is the main story arc of the protagonist what is the nature of his or her journey? What changes for him/her during the course of the book? What is his/her conscious desire that drives 4. the narrative? What is his/her unconscious desire that is 5. revealed during the course of the story? What is the inciting incident that spins the 6. story into action in the rst place? 7. What obstacles get in the way of the characters conscious desire and how does the character overcome these? What are the main plot points? (A plot point 8. is something that happens along the way that changes the course of the narrative, for better or for worse for the protagonist this provides the story with ups and downs along the way and makes us want to read on) Write a list of scenes that you envisage in the 9. novel. Does every scene you have written to date have a purpose within the plot? What is the sub-plot? Is a sub-plot necessary? 10. (Where a more minor group of characters play out a smaller drama that echo in some way the themes of the main plot). How does the narrative voice function? 11. Does the reader know more or less than the characters? Is this an unreliable narrator? (One like the butler in The Remains of the Day who cannot see that he loves Miss Kenton, whereas the reader can). How does the unravelling of the plot link to the narrative voice? 12. What is the climax of the story? Will there be an anti-climax (where you think its going to end one way, but in fact, its going to end another way entirely) What will be the outcome for the protagonist 13. will he or she get what s/he desires?
1. W hat are the specic rules of your plot that lend your work originality? 2. How does time work within your plot? Is it chronological? Or does it work in a unique way (for example, Martin Amiss Times Arrow is the story of the Holocaust told backwards). 3. How will you shape your story mass so that the events follow from one another in a manner that is logical within the framework of the rules you set up? 4. What aspects of your plot will make the reader want to turn the page?
There is no one size ts all with plot but if you have a clear sense of your intention, you are more likely to produce a work that is fully realised and immensely readable.
See also Jacquis article on Finding the Voice on page 22 and her website thewritingcoach.co.uk
thenewwriter.com 17
m e e t t h e a ge n t
What does a literary agent do?

Madeleine Milburn tells us about the four key aspects of an agents work.
literary agent is a business manager. Aside from the day-to-day running of the agency, I would say there are four main aspects to being a successful agent: talent spotting, author management, networking and deal making. TA L E N T S P O T T I N G An agent has to nd new talent to sell. This will keep an Agency growing and expanding. I love this part of the job and have found 99% of my authors in the slush pile. I get around 50 submissions a day via email which I read on my Blackberry rst thing in the morning and last thing at night. Business hours are spent nurturing and doing deals for my current authors, so talent spotting has to happen outside these hours. Thats why I like to see a professional and concise introductory email where every word is relevant to the book being pitched. I attend writing events throughout the year and give talks explaining what Im looking for and how to submit successfully. I also keep a blog on my agency website (www.mmla. co.uk) for helpful tips and news about my authors and their books. I want writers to know me before they submit their work as I believe an author should have a sort of af nity with their agent its such a close working relationship, and you really need to be on the same page. A lot of writers feel very despondent when they get rejected, but most of the time its because they havent targeted the right agent for their work. I am also looking for writers who are equally ambitious and want to write longterm. In so many cases you only see success after four or ve books down the line, for instance Gillian Flynn and David Nicholls had published lots of books before their success with GONE GIRL and ONE DAY. AU T HOR M A NAG E M E N T I handle my authors business affairs so that they can concentrate on writing. I also act creatively as a sounding board, editor and guide for all their work. This guidance happens throughout a writing career a manuscript usually needs a good structural and
character edit before submitting to publishers, and this process can involve a number of revisions. I wont submit anything unless I am condent I can sell it. There can be times that are more challenging than others, for instance when a writer is out of contract or has just delivered the rst draft of a new book. I need to ensure that their work is at its best and support them through times when the market is tough or responding to a different trend. I also anticipate future trends and can gently steer some authors in a particular direction to ensure success. I carefully monitor the publishers edition of my authors work and act as a mediator between the two parties, discussing book covers, marketing and publicity efforts, always pushing for more. Publicity, particularly online activity and social media, is a team effort in this digital age so I like to work together in this respect. N E T WOR K I N G Throughout the year, I meet editors from all the major UK and US publishing houses to discuss the latest trends, imprints, industry moves, what is working on a list and what editors are looking for. This means that when I am reading a manuscript, I will automatically have editors in mind for it.
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m e e t t h e a ge n t
The key is to nd the most passionate editor for the book so that we can work as a team and do everything to ensure successful publications year after year. Foreign publishers receive so many great publishable books too, so I have to maintain my strong relationships at every major book fair (London, Bologna, BookExpo and Frankfurt), making sure my authors work goes to the top of their pile. Its all about keeping up-todate with international trends and what is working. I also meet with literary scouts who keep foreign publishers informed about exciting new talent, and I meet with lm producers and TV companies. I believe I am far more passionate about my authors work than anyone else, so this direct selling can lead to great results. I also make regular trips to America to liaise with all the US publishers as I work directly in this market its all about creating a huge buzz for each title. DE A L M A K I N G I negotiate deals and publishing contracts, carefully strategizing which rights to include in each submission. For instance, I might only offer the UK & Commonwealth rights to a UK publisher so I can keep back the remaining rights and contract them to other companies around the world. I might retain US rights, translation rights, audio, lm and TV and merchandising as I nd that doing direct deals with each company gives me and my authors greater control over each edition. I have excellent contract precedents (boilerplates) that have been negotiated over the years so I can ensure the best possible terms for each author including royalties, high discount rates, ebook rates and subright splits. Drawing up contracts, tracking and invoicing payments on signature, delivery and publication, checking royalty statements, arranging double tax exemption forms, reverting and re-selling rights, offering legal advice are all part of my daily activity. I am also exploring digital publishing platforms for my authors given the exciting opportunities now available in our digital age.
The Madeleine Milburn Literary, TV & Film Agency The Madeleine Milburn Literary, TV & Film Agency was founded at the beginning of March 2012 and currently represents 30 published authors. Madeleine is always looking for new writers of literary and bestselling genre ction including crime, thrillers, mystery, historical, womens, romance, humour, New Adult, YA, childrens and crossover. The Agency also represents memoirs and popular non-ction. For instructions on how to submit to the agency, please go to the submissions page on the website (www.mmla.co.uk). We only accept email submissions: submissions@madeleinemilburn.com Madeleine Milburn has a reputation for launching new writers internationally. Further to graduating from the University of St Andrews in Scotland, Madeleine has worked at the oldest literary agency in the UK and the most commercial agency, handling the translation rights to three No.1 bestselling authors. She has been a Rights Director, Deputy MD of Childrens Books and a Primary Agent
thenewwriter.com 19
w r i t e r s grou p p rof i l e
Pencils and What-Not

Probably the most organised Writing Group ever!
riting can be a solitary occupation. It can be challenging. A writer knows this and understands another writer, like no other can. Days might be spent living in other worlds, conjuring the perfect sentence. When writers unite, they instinctively bond and as mutual trust and respect grow, the writers group evolves. Pencils and What-not is such a group. The name of the group was chosen from a line in A.A. Milnes Winnie the Pooh: This writing business. Pencils and what-not. Overrated, if you ask me. Silly stuff. Nothing in it. Eeyore As Eeyore casts his gloomy eye over Winnie the Poohs little instruction book, he beautifully captures the understated nature of writing, where writing is, in truth, the universal medium from which we make so many discoveries. Perhaps there are some days when the Eeyore in all of us presides over our endeavours, but for the most part our perseverance is rewarded.
OUR MEETINGS Chaired by Carole Hastings, we get together on the third Tuesday of each month to share our writings. The agenda usually includes a Spotlight session where members give feedback on work that has been circulated during the month. We also all share what we have learnt on individual workshops and courses since the last meeting. We decided this was important so that everyone could contribute to our group learning. Another regular feature is the technical writing segment, set by Hilary Gregory. The technical writing segments are both thoughtprovoking and informative, with subjects ranging from innovative ways to harness metaphor, so that the reader is involved in working out the story from subtle clues within the prose, to using the subconscious mind to steer the development of plot outline and form. This technique frees the imagination, inspiring creative ideas, whilst delaying the critical voice, so that the more whimsical rightside brain can be heard. Our competitions advisor, Kirsty Whittle, provides a list of places where our writing can be sent, from magazines and online sites to well-known nationwide and global competitions. A buddying system, with a change-around every four months, was introduced so that we could work in smaller, more intimate groups. The buddy groups are chosen at random by a draw, so that we can benet from a range of viewpoints. At each meeting the Buddy Group leaders report back, keeping us all up-todate with progress. During the Personal Development sessions, our host Anne Ponsonby inspires us with her invaluable
as with all good meetings there is always time for discussion and most importantly, tea and sometimes cake!
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w r i t e r s grou p p rof i l e
We write for ourselves and each other, for our families and friends and, for some to reach a wider audience.
OUR GOALS
insights into ful lling our aspirations and developing our talent for example, a brilliant way to plan and proceed with any project in life is to start with a mind map. Mind Mapping is a visual method of recording knowledge as it ows. It can be used during moments of writers block to brainstorm and locate specic areas in life which are prohibitive to progression. Its also useful for evolving plots or writing a synopsis. Finally, as with all good meetings there is always time for discussion and most importantly, tea and sometimes cake! T H E A I M S OF O U R G RO U P
To provide a fair and resourceful environment for the mutual exchange of constructive criticism. To glean honest appraisal, which recognises the authentic style of each individual, whilst encouraging their growth. To nd direction and focus when experiencing blocks and test out ideas for different material. To support one another and encourage individual projects and goals. To write.
T H E B O OK S In 2011 the What-Nots published an anthology of their work Writing and What-Not. This book was a celebration of the groups united passion for writing and was so successful locally that they decided to do it all again and in 2012 produced Journeys and What-Not. At the moment the What-Nots are saying never again when anyone asks if they will be producing a third anthology, but I suspect that it wont be long before their thoughts turn to just one more publication.
Try this The What-Nots share an exercise that has worked for them: Each meeting we do a spontaneous piece of writing using a quote pulled from biscuit time [appropriate for us!] which gets everyone into writing something fresh from scratch then and there. Sometimes members develop these into short stories or poems while others just enjoy the challenge and the exing of their writing muscles.
www.pencilsandwhat-not.com @PencilsWhat
thenewwriter.com 21
Finding the voice
Finding the voce

Jacqui Lofthouse on nding voice for your ction
hen we speak about nding the voice in our writing, we are talking about many aspects of our work. Whilst individual writers are often known for a characteristic style youd recognise a Salman Rushdie from a Margaret Atwood for example at the same time, writers also develop the voice for a single book. That voice might be a particular rst person narrative voice or else it might be a third person narrative that is in a style distinctive to that work alone. If we look, for example, at the recent Pulitzer Prize winning novel A Visit from the Goon Squad, the author Jennifer Egan utilises different narrative voices (based around interlinked characters within the book) for different chapters. It is a brilliant example of a melding of a traditional narrative voice with a fragmented, more modernist structure. The author has mastered both her story and her style. Yet we still recognise every chapter as tting with the last partly because of story cohesion, but also because of a cohesion of style. We recognise the voice of Jennifer Egan, beneath it all. How do we develop a voice that is uniquely our own, yet also right for an individual book? To an extent, voice is organic. For example, in my own work, I might not always be immediately aware of links between my own books yet a reader might say yes, I recognise this as yours. That reader might recognise a coherence of theme (for example, my rst three books all dealt with people obsessed by their past, even though the subject matter of the books were entirely different from each other) or a turn of phrase or a choice of character-type. Much of this may go on subconsciously. But what we are interested in here is how we develop voice and get it right in our work. It is not possible to give precise technical rules about nding voice, however bad technique gets in
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the way of our authentic voice. If we're telling rather than showing, if we're writing stilted dialogue, if our descriptions are laden with clichs, if we are writing at characters - or if we are writing a business book littered with dry facts - then our voice can't shine. Voice, in other words, is something that we do have to work to develop. It can only develop through reading, through immersing ourselves in books and in experience. We're often told 'you are what you eat'. Perhaps as a writer 'you are what you read' and 'you are what you experience' and 'you are what you imagine'. But you can experience and imagine all you like - if you don't read widely, how will you develop a voice that will allow your own authentic expression to emerge? Am I saying that 'you already have an amazing authentic voice that will emerge automatically if you can just access it' and also 'you need to read widely and study and get a grip on technique and get some feedback if you're going to have a decent writing voice'? Yes, I am. Finding your voice is, in effect, a two-fold process. It comes from your own unique perspective on the world and on your story. It also comes from a rm grip of technique, which in turn comes from wide reading and your own instinctive responses to what you read. To nd your own voice, you do also need to read like a writer. You need to be able to read another authors work with an awareness of how they are achieving a particular effect in the reader. Ask yourself questions as you read such as: how does this author achieve such closeness to the character within a third person narration? Is it by using a deeply effective free indirect style (or what I would call a close third person narrative the former phrase is used by James Wood in the excellent How Fiction Works) and if so how does that work at an individual sentence level? Yet when you are writing, it is also key that you do not obsess about technique. When you are in the
Finding the voice
A writers voice is not character alone, it is not style alone; it is far more. A writers voice is the thumbprint of her whole person her idea, wit, humour, passions, rhythms. Patricia Lee Gauch
process of discovering your characters and your world, what matters more is your own immersion in the world of the novel. You need to believe it, to see it, to smell it, if you are to take us to that place. When you are using your right-brain, when you are freely creative, you want to avoid techniqueobsession at all costs. Its important that you live and breathe your story. Later, in editing mode, you can ne-tune the voice. You can look at what you have written in a more objective manner and say What am I doing with technique here? Does it work? Can I improve upon it? When Im writing any individual novel, I always say that nding the voice of that work is one of the most essential tasks in the early part of the writing. Depending on whether youre more of an organic writer or a planner, you might want to let the voice emerge naturally or take decisions in advance about the voice. For example, one can plan a rst person narrative from the priests perspective, but early in the writing process, you might realise that the priest was brought up in a small Cornish village and his father was a keen birdwatcher and that was something you hadnt planned for, but it has an impact upon the voice, because he might use frequent bird metaphors or he might be terribly shy because he spent so much time in nature but was rarely around people We are talking characterisation here, but character affects voice, especially where we have a rst person narrative. So it is important to be open to change in the process of writing, even if you are a natural planner. In the end, your voice is who you are as a writer and the voice of an individual book is how you choose to use that who in this single work what aspects of yourself and your writerly skill you draw on. The following exercise aims to encourage you to look at your own developing voice as a writer.
Exercise
Find a piece of work that you have written in the past say a year or so ago and read it, focussing on the voice that emerges. What do you notice? Now read an extract from your current work something you wrote, say, a month ago. Do you notice any similarities of voice? Themes that emerge? Techniques that are repeated? Does this teach you anything about yourself as a writer? How can you develop your instinctive voice?
Jacqui Lofthouse has taught creative writing in a broad variety of settings, and in 2005 founded The Writing Coach (www.thewritingcoach.co.uk) Her aim was to create a mentoring and consulting service that was personal and took account of the needs of the individual writer. Her mission was to help writers to produce their best work and get it into print.
thenewwriter.com 23
w i nc h e s t e r w r i t e r s f e s t i va l
Judith Heneghan
Winchester Writers Festival

BY JUDITH HENEGHAN Newly appointed Festival Director Judith Heneghan tells us about her plans for the recently renamed Winchester Writers Festival.
very June, after students have departed for the summer, the University of Winchester throws open its doors to several hundred emerging writers from the UK and overseas. The lecture rooms, the bar, the cafs and the dining hall buzz with writing talk. Delegates sit on the steps in the sun or stroll about the bright open spaces, discussing their writing, thinking about writing and, as you might expect, actually writing. The University of Winchester Writers Festival (previously known as the Winchester Writers Conference) is, rather wonderfully, now in its 34th
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year. Founded by Barbara Large, MBE, its aims are to nurture and inspire writers from all walks of life to produce work of the highest quality, nd the best route to publication and so reach those all-important readers and audiences. Over 60 literary agents, commissioning editors, best-selling authors and other industry experts are on hand to help writers develop their craft in a wide range of workshops, day-long masters courses and 45 separate talks as well as hundreds of one-to-one appointments. This year the Festival takes place over three days from 2022 June. It is also my rst as Director and I am
w i nc h e s t e r w r i t e r s f e s t i va l
Judith Heneghan
hugely excited to be shaping its future, working with Festival Manager Sara Gangai, our speakers and our hard-working volunteers. Nevertheless, I cant deny experiencing the odd buttery. Youll be ne, remarked one editor as we chatted over coffee. Youre a writer! Certainly, when I think about the Festival delegates, often sharing precious work for the rst time, I know how it feels. Writing can be an isolating experience. Ive witnessed the process from various angles: rst as a commissioning editor with Hodder, then more recently as a lecturer in creative writing and a childrens author. When Im writing, Im locked inside my head, dealing with the unknown in a very private space yet we all need the support and encouragement of others. So I reached for my notebook and asked people what they looked for in the Festival. Their thoughtful responses reect its warm, nurturing ethos. Delegates value constructive feedback and targeted advice but they also hope to leave enthused and energised with new ideas, strategies and contacts. The Festival sustains them through the months of writing ahead. The range of options means delegates can tailor their own programme. All genres and forms of writing are represented across the Festivals three days: literary ction and fantasy, crime and horror, historical and romance. Poets, script and nonction writers mingle with the novelists, childrens writers and ash specialists. Some are taking charge of their own publishing while others seek representation by an agent. Increasingly, delegates and speakers advocating independent publishing are re ning a portfolio approach that complements more traditional routes. This year, the format enables delegates to attend on any single day as well as the whole weekend. Friday masters courses such as The Perfect Pitch: how to pitch your book and nd an agent with Madeleine Milburn of the Madeleine Milburn Literary Agency (see page 26) and Take Risks With Your Writing with best-selling novelist Jasper Fforde are designed with the more experienced writer in mind and can be combined with a couple of one-to-one appointments. Sunday workshops are geared towards specic genres and are suitable for less experienced writers, while the Saturday talks and one-to-ones offer a huge range of options with agents, authors, editors, marketing and social media experts. This year sees plenty of new faces including Anne Clark
of the Anne Clark Literary Agency, award-winning YA novelist Mark Lowery, blogger and author Emily Benet, contemporary romance novelist Julia Williams and Sallyanne Sweeney from Mulcahy Associates. Everyone is energised by good news when it follows. A writer nds an agent. An editor requests a full manuscript. A book is published or a fresh idea takes root. With the latter in mind, we are introducing writing rooms where delegates can respond to a series of writing prompts in a quiet space. The Scholarship Programme is another new development for 2014. This initiative is designed to support young writers who might not otherwise be able to take advantage of all that the Festival has to offer. This year we are awarding 10 scholarship places to emerging writers aged between 18 and 25 to cover attendance fees (excluding travel and accommodation). Young writers are encouraged to apply by email to Judith.Heneghan@winchester.co.uk before the deadline of 31 March with a short statement of up to 250 words outlining writing interests and experience, as well as what you would hope to get out of the Festival. Do insert Festival Scholarship Application as the message title and include details such as postal address, telephone number and date of birth. The smaller bursaries for those in need will also continue. For those unable to attend the Festival in person, there are other ways to participate and get their writing noticed. Our ten competitions draw hundreds of applicants from across the UK and are open to everyone, including non-delegates, for a small fee to cover administration costs. Every entrant receives valuable written feedback from a highly experienced adjudicator. Prize winners see their entries published in The Best of Festival anthology. Its not all work, of course. Many delegates take time out of their busy schedule to reect and relax. The book fair is full of tempting treats, often signed by our guest speakers. Author talks and an open mic on the Friday evening provide an occasion to sit back and enjoy the fruits of others endeavours. Theres a celebratory dinner on the Saturday night and of course Winchester itself is the most inspirational of settings. From my window on campus I can see the imposing roof of the Cathedral with the backdrop of the South Downs behind. On a warm day its not unusual to nd delegates, notebooks in hand, sitting amongst the daisies and the angels in St James Cemetery as they admire the view. The gardens of the local pubs arent half bad, either. The Festival brings writers together to share the joys and challenges of creative endeavour, hone their craft and make those For more information please visit our vital connections with website at www.writersfestival.co.uk the publishing world in a or contact the Festival Manager at supportive environment. Its Sara.Gangai@winchester.ac.uk if you stimulating, its intense and would like to be added to our mailing list. You its great fun. Never mind the can also follow us on Twitter @UniWinFest butter ies I cant wait!
thenewwriter.com 25
fa l l e n a nge l s
Jo Carroll
BY JO CARROLL
FALLEN ANGELS
Winner of our Life Writing Competition And then I Laughed
26
fa l l e n a nge l s
Jo Carroll
hree days in a boat, my daughter said. Most Clad in clammy clothes we returned to the canoe. The rain people sleep in hammocks at the foot of had stopped, but the challenges of the river ensured that we Angel Falls, but there are beds for the aging. stayed soggy. Only now did I become aware of the bruises She meant me. on my bottom. I shufed from buttock to buttock to ease the A cruise to the highest waterfall in the world. A discomfort. Kevin scowled. At least the lack of rain made restful introduction to Venezuela, I thought. Surely this journey less miserable than yesterdays. We could raise my daughter, resident in Caracas, would not take our heads and gaze at the jungle. We passed mile after mile her mother to unruly places. She presumed I would of dense forest, with occasional clearings for native villages read a Lonely Planet before leaving home. Had I read wooden huts on poles driven deep into the mud along the the guidebook Id have known that Conan Doyle riverbank. was sufciently entranced by the area to make it his Two hours later we arrived at a camp near the foot of the setting for The Lost World. falls. Kevin cooked lunch (rice and fried sh). The river burbled, We gathered, an assortment of travellers, by the like Radio Four talking quietly; a green kingsher darted tea-brown water of Laguna de Canaima a peaceful across the water. But our attention was elsewhere: on the other stretch where birds paddled and ripples kissed the side of the valley we could see Angel Falls, rising from the shore. It was too hot for introductions. In the stupor of forest and hiding its head in the clouds. It was oddly hypnotic early afternoon our guide, a lithe Guyanan, with the and precious, for being so remote and majestic and beautiful. unlikely name of Kevin, gave brisk instructions. It was time to explore the Falls. As the clouds on the You might get wet, he said. Pack what you need mountain-top began to dissipate we set off to climb for three days; leave the rest here. I looked at Tessa. through the rainforest to the river. There was the rank She nodded at me. As if I should have known. smell of mud and dripping trees, an orchestra of insects and He gave us two black plastic bags. Would we need the steady drone of puf ng. towels? Toilet paper? Books? Our rst encounter with the Falls came in a tiny clearing We were led down a sandy track to nd, not a where we jostled for space to take photographs. My well-read luxury boat, but a dug-out canoe. Kevin handed out companions were disappointed that the double rainbow life-jackets and we climbed in to sit, two in each row, promised in their guidebooks was not shining today. I low enough to dangle ngers in the water. I glanced at concentrated on my camera, needing to prove Id made it this Tessa; she shrugged her reply. far. For we were still half a mile away from the water and He yanked the engine into life; the canoe lurched even here the roar of the Falls was so loud it drowned talking. from its moorings and instantly tipped. We sped across Kevin rushed us on. When we reached a second clearing the lake and up the Catoni river with cascades of water his urgency made sense. Angel Falls has an uninterrupted swimming around our feet. My shoes comfortable drop of eight hundred metres, then smashes onto rocks and sandals, bought for the occasion were drowned. I tumbles over boulders to reach the valley oor. Hidden among grabbed my plastic bag, cuddled it, to protect it from the roaring, foaming water is a pool, fty metres wide, where the water. Kevin gave us an I did warn you look. Every we could swim. Had we arrived later, wed have had to turn change of direction threw water over the sides; every round to get back to our camp before dark. Had we left earlier rapid (the river is full of rapids) brought sheets of water the top of the Falls would be hidden in morning clouds. And over our heads. Then it rained: tropical rain, hammering then I laughed. Forget the soggy clothes, the rice and fried sh: on our hoods and almost burying the roar of the engine. for this is why Tessa brought me here to swim in the pool at Hours collapsed in a puddle of discomfort. the foot of Angel Falls. We stopped as night fell. The relief of We discarded clothes in unseemly haste unfurling cramped legs, sloshing into and threw ourselves into the peat-stained river, camp and riing through plastic bags for gasping from the shock of the cold as we battled Jo Carroll really a miracle dry clothes! We found beds in against the force of water inging itself down the entered into a hut with no door. There was hot coffee, mountainside. We slithered on mossy rocks and the spirit of our pungent and reviving, and then supper clutched each other in the struggle to stay upright. Life Writing (rice and fried sh). We shrieked with exhilaration and alarm, competition For the rst time we talked, my fellowdrowning in the sheer joy of being in the noise and has given travellers and I. There was a couple from and the water. We grabbed the brawn of Kevin us a piece of Lithuania, in matching t-shirts. A young and stood, the full force of Angel Falls hammering writing that not Venezuelan had brought his German on our backs, gazing across the lost world of only records her girlfriend. A Frenchman cleared our plates Conan Doyle. experience and and lined up paper cups. We drank rum and Jo Carroll gave up work in her mid-50s to go memories, but also slept unexpectedly well. round the world, setting off with little but has the additional We were woken by a ock of birds optimism and a notebook. She returned with spark of the writer shrieking across the campsite. The sun more stories than people to listen to them. being able to step peeked through the trees as we gathered Her adventures are told in Over the Hill and outside herself and for breakfast: omelette and maize cakes. Far Away. With that book launched, she set see her adventures Ballast, I decided. The coffee was thick and off again and again. Details of her travels as another might. bitter, and dealt with a lingering headache can be found at www.jocarroll.co.uk from the night before.
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p i t c h p e r f ec t
How to submit a non-ction book proposal
Pitch Perfect: How to submit a non-ction book proposal

Fiona Shoop, publisher at Golden Guides Press and author of How to Write and Publish Non-ction gives tips on submitting a non-ction proposal in the rst of a new series.
In theory, its easier to publish a non-ction book than a novel and thats because of two main factors: You dont always need an agent Youre selling yourself Agents are very useful, especially as they have an in with publishers and theyre great at wringing the very best deal out of a book contract but, unlike novels, you can approach most publishers direct with your idea for a non-ction title without immediately being told to go away and get an agent. What youre selling isnt just a book, its your expertise and no one knows that better than you. I started out as a journalist and used my reputation in my eld (antiques) to get my rst book deal and that led to TV and radio shows, more articles and more book deals. All because I knew that the most important aspect of my book proposal was my own experience. T H E T OP T E N P OI N T S T H AT N ON - F IC T ION P U B L I S H E R S WA N T T O H E A R Depending on your subject area and publisher, you will probably know your market better than the publisher and what we want is for an author to talk themselves into a book deal, not out of it. Its surprisingly easy when you know what we want from you:
4 Whats your USP The Unique Selling Point that differentiates your book from everyone elses. 5 Is there a hook Have you discovered something ground-breaking or are there lms, events or anniversaries coming up? Be realistic, it takes 12-18 months between commissioning and publication and it can even take up to a year to get commissioned so plan ahead. If you want to publish a book on the 1916 Easter Rising, get researching now. 6 Why you chose us Be honest but tell us why you wrote to us particularly e.g. were a good t, you know or like other authors or titles on our list. Its not that we want to feel special (okay, so it is) but we want to know that youve done your research and arent just submitting your book to everyone. 7 Word count Bottomline, is there enough information to create a book or is it just a long article? Were also looking for commercial viability so anything too long (150,000+ words) will cost too much to be practical. Publishers have to think of printing costs when commissioning and anything too big will cost a lot but might also look too cumbersome for the majority of buyers. 608+-page books are too hefty to be readable for many of us. Stick to 60-100,000 words if possible. Dont forget to add an image count if your book is illustrated. 8 Condence If youre condent about your project, were more likely to be. Think of a book proposal as a job application, sell yourself. 9 Get our name right Yes, its that basic. Address yourself to a different publisher by mistake or dont bother to nd out our name and well question your research skills. 10 Spell check Nothing will lose you a book deal faster than bad spelling. Well, almost nothing, the Deer Sir/Madam double mistake will beat it every time.
1 Tell us who you are What makes you the right person to write this book e.g. years of experience/ expertise, reputation, fame or even passion, thats important. We want you to love your subject. 2 That you have a track record as a writer Magazine or newspaper articles count, not just book deals, as we want to know youre serious about writing and have a searchable reputation for book buyers. 3 Whats your market Who will buy your book? Never say everyone, give specics (e.g. specialist groups, shops, websites, events etc). Publishers exist to make money so stress that your book is commercial.
28
Publish: verb: to make public

BY ZO FA I RBA I RN S
1 Publishing is a commercial enterprise. The publisher invests money in the possibility that enough people will buy your novel, or tickets to see your play, or the magazine or book that contains your poem or short story, to make it nancially viable. Alternatively the publisher may hope that people will advertise on the website that contains your work, or click on it in sufcient numbers, to generate income and so cover the costs of publication/production, and perhaps make a prot. This is equally true whether it's a small community press or theatre, or a huge corporation. Even idealists have bills to pay. That doesnt mean you should be cynically market-driven; the best publishers/ producers combine a passion for good writing with strong business skills. It is a reason to be professional about your work and not to take rejection too personally. 2 Get an agent if you can. But how?, you may be wondering. This will be the subject of a future article. In the meantime, concentrate on trying to build up a good portfolio of published work, not only for its own sake, but to impress potential agents. One of the best routes towards publication for new writers, including those without agents, is by entering your stories, plays or poems for competitions. The New Writer carries information about these, as do publications such as MsLexia and Writers Forum. For online information on writing competitions, visit www.writershub.co.uk www.shpublishing.com www.booktrust. org.uk and www.bridportprize.org.uk 3 Always read the competition rules carefully. If you are asked to submit work of a particular length, in a particular format, on a particular theme or for a particular deadline, follow these instructions. 4 Watch out for rules which say copyright in all entries belongs to the competition organisers. This is a rip-off, as it means that even if you dont win a prize, you lose ownership of your work. They can republish it, you cant. Fairminded competition organisers will say something like this: Copyright in all entries remains with their authors, but the competition organisers reserve the right to publish the winning entries. 5 Some magazines in print and online consider short ction, non-ction and poetry from new writers. You will nd information about them in the Writers' and Artists Yearbook and the Writers' Handbook, which you can buy from your local independent bookshop. Your public library may have copies in their reference section. Alternatively you can buy it online. You can also nd information on the Book Trust website (see above.) 6 If you think a magazine looks suitable for your story, article or poem, get hold of several copies of the magazine and read them. Try to form an impression of what the editors are looking for, and how your work would t in. Before entering a competition, nd out if they published last years winners. Read them. Dont copy or imitate, but get a sense of what the judges liked, and ask yourself what you can learn from that. 7 Most magazines have websites, with a button to click on that says something like information for contributors or submissions. These will tell you what these publications are looking for. They may even tell you that they are not looking for anything at the moment from freelance writers, which is disappointing, but saves you from wasting your time.
Getting published
ten tips
8 Get out more. If you live near London, Leeds, Leicester or New York City, go to the short story reading events organised by Liars League. www. liarsleague.com Does your local library or bookshop organise author events? Go along, listen to the visiting speaker and learn what you can. How did they get started? Chat with others in the audience - they must share at least some of your interests and ambitions or they wouldnt be there. They may know of new opportunities. Is there a poetry caf near you? (Theres one in London at 22 Betterton Street near Covent Garden.) Do you live anywhere near a venue for a literary festival? Be there. Ask questions. Look at the magazines and anthologies on sale. Are they looking for new contributors? 9 If your ambition is to write for the theatre, go to the theatre. Often. Go to local theatres and the west end. Ask if they offer opportunities to attend rehearsals, or if they hold workshops for new writers. Join groups such as Actors & Writers London (AWL): they organise rehearsed readings of new plays, with feedback from an audience of actors and fellow-writers. http://www.hawguk.org/ 10 Be resilient. Kingsley Amis said, A bad review should spoil your breakfast, but not your lunch. The same applies to rejection slips.
Zo Fairbairns teaches Ways Into Creative Writing and other writing courses at City Lit, London.
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p oe t r y i n f o c u s
Self-publishing with a visual twist
POETRY IN FOCUS
G
30
BY ANNE CALDWELL
So, for my latest writing project, I decided to go in a very different direction. I wanted to produce a book that was a gift: a precious object that people would want to buy and keep. I have already had three books published via more traditional routes, so this time I decided to explore self publishing and the idea of producing something handmade. I had been asked to take part in a visual arts exhibition in Berlin during this summer at The Emerson Gallery. The exhibition was called The UK meets Berlin and I did a guest poetry reading as part of this project.
etting poetry published these days is challenging to say the least. Many small presses have lost their Arts Council funding and closed, and there seems to be more writers chasing the same opportunities. At the same time, I think we are in a period of new developments. Social media has enabled poets to connect with each other internationally and the internet provides exciting platforms for work and for developing audiences. Sometimes I think it is tricky nding good quality work when there is so much out there!
(http://www.emerson-gallery.de). Producing a limited edition book of my work for this event was a great focus to have, and meant that my writing had a longer life than a single reading. The whole process from start to nish was enjoyable and creative; particularly because it was collaborative in nature. I worked alongside an artist and bookmaker called Jack Wright who designed and produced the book for me. We met regularly to discuss materials, bindings, production and printing. My book featured two sequences of poems based on photographs. My family have an archive of Fuji lm slides that my father took from the nineteen fties to the late sixties that have informed my writing in recent years. My dad died of cancer when I was eleven and so this set of images is very precious. Three years ago, I travelled back to Aberdeen, the city where he was born, and went in search of the locations for some of these photographs. The ones I chose were taken in the early sixties. I also remembered the city well from my own early childhood, and from visiting grandparents. Most of my poems were written in situ, outside, like a visual artist taking a sketch book into the eld. I was surprised how much of my own memory ooded back when exploring the city of Aberdeen, but also how the poems became a framework for a poetic language that I have kept locked up for years. Certain images re-occur throughout this sequence and have become key elements of a re-imaging process. Apple trees, the art gallery, granite buildings and the sea, shaped the metaphors in my work and provided me with a set of touchstones with which to explore the past, and the current nature of the city today. At times I felt like I was observing the city in heightened Technicolor palette of my dads prints with its bright blues, reds and oranges. The second sequence of poems was written in the spring of 2013. They chart a visit I made to Berlin last summer. I took with me a collection of photographs my father took of the city on a business trip in 1963. It was the same year Kennedy visited Berlin and made his famous speech. I mapped out the locations of his images and re-photographed the views from where my father stood. I also wrote extensive eld notes in these places and these pieces of writing began to form a diary or blog of my walking through the city. Walking and remembering became intertwined. Through a process of ekphrasis and re-imaging, one art form has informed another. This was the rst time I had visited Berlin. I felt closer to my father, but also felt the delight and surprise of a rst encounter with the rich, layered history of the city and its current landscapes. I am delighted with the book we produced, called After Image, which has a print run of thirty copies. The book is riveted and bound in leather, with a handstamped letter tile in lead. Jack printed the book on a mixture of handmade paper and vintage paper. He interleaved my poems with acetate prints of my fathers photographs. Jack also brought in a number of helpers to put the book together and work on layout. It
has sold very well so far through the gallery in Berlin, a local bookshop here in Yorkshire, and through my own networks, family and friends. I have covered my production costs, but not the time that Jack and I put into the project. This was never the point. The advice I would give to another writer wanting to set up a similar project is to pick an artist with the right skills, who you can connect with. I would be prepared to put in plenty of time to talk and plan the work. I would suggest coming up with a plan in advance of how and where to sell the nished product. On reection, I think my book is priced a little low, but this is a learning curve. I think my next project may be digital. I would like to explore writing for a larger audience and continue to collaborate with other art forms. I recently attended a day showcasing poetry/ lm organised by Comma Press http://www.comma lm.co.uk/ challenges in Manchester and this is an area I am really interested in developing.
Biography Anne Caldwell is a poet, short ction writer, lecturer and Programme Director for NAWE. She is based in Yorkshire and teaches at the University of Bolton and for the Open University. Her full length collection Talking with the Dead is published by Cinnamon, 2011). You can follow her blog at www.annecaldwell.net
thenewwriter.com 31
POETRY IN FOCUS Dandelion

This Circular stasis symmetry of seed pollination, so delicate and selfcontained, let it exist just a few more seconds before soft windblown lovers breath, childs game of aged time a sugar, a kiss, a dying wish bursts into air forever. Julian Colton
The Big Picture

I tried to document a thunderstorm today. Tried to count the curves in the clouds. But they always swirled And broke apart Becoming something different From the start. Tried to record all the booms. But the wind was too strong And all I could hear Was a howl, howl, howl So nothing was clear. Tried to single out each patch of grey. But there was black there too, And white and purple and blue And my chart wasn't big enough So there was nothing I could do. So I went home And sulked for a while Until I saw my window And suddenly realised. A single drop of rain Can sketch the entire sky. Scott Payling
Shakespeares Wife (FYI)

FYI, Shakespeare knew the value of a wife weighed her estimate in emotional salt. Once blinding comet love has long since ed something tangible remains, abides more than reex memory or safe sex words the assured metre of stress and un-stress becomes an ingrained deeper love, ABW, which others call accustomed convenience as if love is just an overcoat oversight removed and worn as one suits. Ha. Whatever, its hard to shake it off and those whose pale third nger wags divorced with book club principles never dipped Achilles heel in commitment Styx had bound fast ties of love and children. Trouble and strife: Love and wife XX :) Julian Colton
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Poet
The smell of a poet only comes to me when I make coffee. It is the vapour with its espresso words self-deprecations and the vaguest drop of sugar, a dousing of milk. I bring it to my bedroom. I will smell of him too. Sophie Fletcher
POETRY IN FOCUS October

Burning, blooming Like spring owers All tree leaves Giggle, guffawing With the west wind In their erce deance Against the elegy of the land Recited aloud In blood-throated voices Changming Yuan
Paper Girl
If I were a tree, gnarled and shrunken with misery, you would have felled me long ago, slicing me into your paper girl, my rings of beauty lost in the monotony of this: a blank page. When was it that love became a mere noun, reiterated time and time again in the branches of a tree bearing no fruit? Kate Weston
Sway
To let the pen stand still on the page and write the sway of the train. Raphael Gancz
September 1939
Wife up in Oxford, cooked breakfast with fried bread, eaten alone instead of the usual Sunday atonement. The others are at church. Cat curled in wicker chair, seats are empty, room to spare; spirit of house on holiday, sunlit beams play among the crackling static, illuminating the fading acacia, while futures are decided in absentia. Stars still glimmer in milky blue sky; mid-day moon? Must confess, I can't remember. Fed bacon rind to the cat, gave him half my second egg, "Is this it?" I said to no-one. Picked up hat and coat, left the house, still holding piece of toast. The whole of England lay unfurled, spread beneath a glorious start of September day; from faraway, a siren sounded. Maxim Holt

Intimate
A stranger Passed me by in tears Couldnt resist I greeted him
1962
The sadness Far above my head, That I knew on a ladder propped against clouds, father proudly painted gutters Raphael Gancz between placing bread and butter on the table, and putty in the cracks of family life. Mother, his wife, held onto his shoe as he ew round the roof, she gripped tight; in love with our brand new house. Crikey! Electric cooker and fridge full of food, 1962, not one cloud settled in a bright blue sky while a Beatles tune "Love Me Do", crackled the airways. I swear on a clear day I can see myself waving from miles away. Maxim Holt
thenewwriter.com
33
POETRY IN FOCUS
The pitch
Winter-layered in the spring sunshine under the brim of his battered hat, he rubbed his stubbled chin and peered, in that vacant way he made his own, up and down the teeming street. His dog lay on a blanket next to bronze coins scattered in a rusty Roses tin, vers secreted inside his coat, waterproong long washed away. From the outer pocket stared his coup de grace, a whiskered ferret, one eye open, like the dog. This morning Jim was found under The Big Issues and tin-foiled sheet. The dog blanketed and warm guarding his body. No one has seen the ferret. R S Skellington
Jigsaw
First nd the corners a piece of sky a pavement a splinter of glass a Nike heel hoods helmets shields batons a union ag aps fanning the ames blue lights ash in shadows an old man searches for the missing piece. R S Skellington
Football
We wait for Saturday with bated breath So anger and stress build up inside A sense of frustration we take out on the ref. Collective clans collide in the coliseum Each mob donning their respective colours The Romans are here, and not just in the museums. Heroes rise and villains falls. The eld is damp with their inspiration and perspiration Only the greatest warriors we recall. The crowd try to tempt, torment and terrify The warriors listen with bated breath. Finally, they collapse and look to the sky The sporting spirit is alive and well. But look into any modern coliseum Is it hell or the sporting spirit of which they tell? Chris Callaghan
Enough Sunsets
I remember last night how the ery end of my cigar looked just like a sunset through ashy gray rain clouds. When I mentioned this to the old man I was smoking with a friend, my friend, he tapped his cigar and the ash fell off leaving only the smoldering orange. He said it looked like a sunrise because rain clouds are darker than ash and in the evening the sun is brighter than re. The glow of his cigar illuminated the lines in his face to look like dark canyons and I knew then hed seen enough sunsets to know the difference. Lee Douglas
34
POETRY IN FOCUS
The Centerpiece still Smiles

I was having a conversation with my wife. But we sat our plump butts down at the mahogany table. I on one end, she on the other, hand on her belly, and this massive statue centerpiece blocking her face. The statue, the centerpiece, is a nucleus of bronze Cherubs chuckling and holding handfuls of poinsettias. (I cant smell them, but she says she can.) Shell change them when Spring arrives, birthing silverbells and daffodils along with bloodroots and dead nettles. I glance around one way and she looks around the other. We lurch back and forth like this before I give up and say Theres only a small chance that itll be retarded. And she stares at the centerpiece, gazing at the Cherubs. Theyre chortling now. Like simple-minded sucklings with wings. And she says I dont care. And I say Fine. And when Spring came there were no owers in the centerpiece. Instead it looked like the Cherubs were reaching their small sts up, searching for a reason why they were smiling. Lee Douglas
Hospital
If youre happy and you show it Smack your hands. If youre happy and you show it They let you know they know it. When youre happy but dont know it. I dont know anymore. It is like a playground In here. I could be friends With you. Natalie Crick
Syzygy and Triangle

I saw Buckminster Fuller demonstrate (with Tinker Toys) the endurance of the triangle, its rm form unadultered by shaking or waving, and how it bore weight better than any square or beam-and-lintel. But we three arent dowels joined at intersections with pre-manufactured holes. With our alignment, one of us must lie in the middle. Were we but loving souls, not two planets bound to a hungry star between, in a celestial syzygy, lasting a moment, you and you and me, Timeand Motion, her dresserwould not be the ravager of this, the enemy of Us. Notwithstanding that what we are is heaven, and I love you equally, as I know you, as you have said, love me and each other: but this is for now; I would that it could last, but dont know how, other than in this note, left, that one day some future race might read, and point the way. James B Nicola
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POETRY IN FOCUS
Every Boys Hero

They kept it a major secret like buried Cuban missiles or the true value of gold, Never told us that you were just like us.
Those were the days

Good summer days Glengarrif taking bloom The splendor from rocks Sporing the shores erosion The sea taking and giving No memory, no memory Rain springing iron from your stance Girls,girls with hips dancing The curiosity in smiling Blackberries ink dripping on nails My heart taking heat life by music seemed kissed It's sugar glistening in head-sweeps Running up hills Your breath sharpening as pencils Head forward through Olympian feats 102 in the shade The leather is cool Stiff little ngers glued to the headphones The wearing of jeans their code In dreams echoed Days lying in the grass The dogs but a mufe Down with the insects legging it nowhere Stung by our foolery. Terence Doyle
Even when they paraded you in pinstripes Or gave you some lucky number Or put your portrait on corn akes, You were every boys hero. We didnt care about your drinking Or what went on off the eld Like your illness that ran in the family Or how you neglected your children But only cared if you were in the lineup Because you were a legend our idol And idols make perfect statues Like yours they placed in center eld. Clinton van Inman
Wall-penny Freckle
I had a soft nose and you would squidge it Against your tongue, lips sliding mouth over mouth And I was only ten Your name was Alison I used to pay you a penny for you to kiss me and in sunshine. Up until you I played football and wheezed Phantom sprains, ingrown toe-nails, Gallybanders across my back garden blazed. There wasn't much growing at ten But we got there. How many lives did we collect? In our faded jeans at the knees Armies we led, matchbox spiders we bled. All we did was kiss. My wallpenny freckle and I went back home Your face in front of me Growing and growing. Terence Doyle N.B. A gallybander was (is?) slang for a catapult in Waterford. Squidge I just made up!
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POETRY IN FOCUS
Jackdaws
reprieved by sun when the black-cap becomes purples & then one cloud pilfering light turns caddows, college-birds, sea-crows back to night - with napes & half crowns of silver old glitter-thief: thats giving you our greed, for the white eye alone loves easily the dance of facets, the shine on stone set next to the twigs in the chimney little money birds a true crow, & legal to trap; classied, codied, its a houses ruin: a mishap waiting to fall, twigs & all, down ue to re & daws of legend in the Greeks old tales caught claws in a eece or famished saw how the green gs failed to ripen, like endings, when the fox taught natural law yet with bills up real clatterings escape story, live high with rooks & tell (we cannot know) in jacks & caws, quick & slow, their complex calls of hidden glory? Charles Wilkinson
A-walking Rain
Home has shown a lasting roof & lack of leaks proclaims repairs: walls have dried wet charts of grief & shutters are secure; the tiles are tight in waves of slate that should not break on shore; each pane is fast in wooden frames glass strong against the storm; & bright in grates inside warm rooms the res assure. Yet clouds collect, from white-ocean owers, the oods that bloom again; & though the house looks weather-proof the wet has soaked the plaster; & theres one slate that soon will crack to let in shafts of water; hear the rain come walking, a-walking down the stairs. Charles Wilkinson
Grounded
Swallowed by a hammock I hide on the paperback oor of Santiagos skiff, green nches wheezing in the cork trees an escape from my escape. Wed arrived on the terracotta road passed sleeping dogs and lime white chapels, learnt the narrow Moorish streets and trod the brittle foothills; I watched your skin olive as we bathed like lizards on rocks in full pelt of the mountain sun before sultry evenings behind shuttered windows, and me, broken in transit, sleeping off my Latin temperament to the white noise of crickets. Dan Strathers
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POETRY IN FOCUS Runaway

Of the little I remember the cold creeping into my bones on arrival, the slow creak of a door opening on the musk of forgotten furniture. Raising our voices to make ourselves at home we stacked the fridge with cider and vodka, lit a re and let night fall through the conservatory at the back where we stole for quiet smokes. Back inside, ancient stories rolled off our tongues as if wed been waiting for our shadows to mix intimately before plying the nal truth. This is the way it is for those of us still alive. Those who died left a trail in us like snow the next morning where, red-eyed as if from crying, we climbed a hill we hadnt known was there. Kevin Graham
Scattering the Parents

Mothers ashes take the wind on the levee, in back of a plantation where shed love to have played the lady of the manor, a nouveauScarlett, with her long hair trailing like moss through the live oaks. Her bones mist the air over the spiral staircase of her dreams. Father's dust mingles with hers on the Mississippi shoreline, cast from the high earthen border built to withstand wind and water, but, in fact, fallible. Dad, as in life, is hesitant, circumspect. The wind dies down at our backs, and clumps that were once his dark hair, full mouth, and tennis elbow, hit the shoreline with a thud, drifting after mothers white magnolia gown, with water lapping what used to be their toes. Donna Pucciani
Time and Place

Something about the market being over buckets of water emptying over cobbles, evening light streaming down a building. The faint odour of sh dampening the air, mixing with yeast and smoke. A van driver leaning on his horn as he reverses to load up remnants of stock. Birds stitching the air, searching for scraps. Something about the freshness of how over the thing is: the ringing echo of market babble fading, transactions done by people whose lives have led them through this square like old times, crisscrossing happily among the stalls. Both lost and found. Kevin Graham
Luggage
One never knows how to pack. England will be rainy and chill, its bluster blowing across the Channel to Italy, where snow-capped Dolomites smile at their reection in the lake and await breathless tourists who divest of their coats in the unexpected heat. Outside the window, squirrels dart with a vigor left over from summer's bountiful ease, stufng pouched cheeks with provisions for the winter, the threshold of present and future disappearing in the long-shadowed sun. Perhaps one can learn to shiver or sweat with grace, to relinquish the extra sweater, to carry only one coat for the journey, and one pair of shoes. Donna Pucciani
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p oe t r y p rom p t
Anne Caldwell
Blackbirds
All that winter she scattered corn at our feet and we grew fat and lazy as dormice in the hedge. One morning she clucked us close, then threw a net, ne as a spiders web. We xed her with our yellow eyes I swear I saw her inch but, quick as a blade, she pegged our wings, stuffed us in a sack that smelt of cats, carried us over her shoulder. The great iron spit was turning: all manner of beasts chopped, mangled, the air laced with fat and the sickly smell of mead. Her pretty face was red as a side of pork, arms dusted with our. A great slap of pastry rested on the dresser. She thrust us in together, twenty four packed in like slaves in a ship. I clawed my way to the edge of the crust, shuddered as the oven slammed shut, the temperature beginning to climb. We sang to keep our spirits high. Just as I began to doze, I felt a breath of air through a slit in the lid, then the jostling as we were held up through endless corridors to the great hall itself. All that king cares for is gold, taxing his subjects till they squeal like rats cornered in a midden, and his wife stuffs her face: honey drizzling down her well-oiled bosom. Candlelight and music made us blink, we raised our beaks and, drunk with air, we felt the pull of freedom in our wings, darted for a casement window in the roof. There she was in the courtyard, with an armful of sheets and a mouthful of pegs that had pinioned my brothers and sisters. I ew at her: pecked hard at her nose. She shrieked like a raven crying for her mate, bleeding all the way to the castle keep. Anne Caldwell First published, Talking with the Dead poetry collection, Cinnamon Press (2011)
POETRY PROMPT
Our Guest Poetry Editor Anne Caldwell shares a writing exercise that has proved successful for her.
am very interested in voice within poetry, and writing from different points of view. I have explored tuning in to voices that are unheard in my writing or voices that are on the margins of stories, places, and familiar settings. The poem I have included in this issue takes a well known nursery rhyme and then writes from the voice of a blackbird. You could try the same thing in your own writing.
List a number of fairy tales, nursery rhymes, myths or stories that you remember well from your own childhood. Pick a marginal character from one of these stories. Write a poem in this voice. You may be surprised where it takes you! I did not expect the blackbird in my work to be quite so angry, or revolutionary.
If you would like to buy a copy of Annes book, please email her at a.caldwell@nawe.co.uk
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t h e t y p e w r i t e r i s de a d
Andy Key
The typewriter is dead

Or: ve tips for preparing a digital manuscript BY ANDY KE Y
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ts now more than two years since the last typewriter factory in the world closed. Yet many writers are still sticking to habits that belong to a bygone age. Lets face it, most of us do our writing on computers these days. Not all of us, I admit, but most. That means that most contributions to magazine and book publishers are submitted in digital form, either instead of or as well as printed manuscripts. There are exceptions, of course: a few years back I helped an academic author whose publisher had instructed that he must produce his manuscript in Microsoft Word using very precise
specications for font, margins and layout, then print the whole thing out onto A4 paper, then post the paper copy to them so that they could put it through a scanner page-by-page and convert it into a Microsoft Word document. I shant tell you the name of the publisher but if this sounds familiar to you then run away from them. Very quickly. Now. But I digress. When you send a manuscript to a magazine, somewhere behind the scenes there is a designer or a production editor who has to transfer your masterpiece into a page of their publication. If you expect to be a regular contributor, its in your interests to make their lives easier.
t h e t y p e w r i t e r i s de a d
Andy Key
There is a lot of received wisdom oating around the writing community about how to type your manuscript. Unfortunately some of it dates from the age of mechanical typewriters and paper manuscripts, and it doesnt really apply any more. If youre still following that wisdom, you are not only doing yourself a disservice, youre contributing in your own small way to the nervous breakdown of a graphic designer. And Im sure you dont want that. So here are my ve top tips for making life easier for your publishers. Im assuming here that youre writing in Microsoft Word, but all these tips apply to just about all other word processors as well. The functions mentioned here may appear in different menus, but every word processor will have them. D ON T P U T T WO S PAC E S A F T E R A F U L L S T OP. E V E R . If you had formal typing courses in the 20th century, this was something they used to tell you to do. You dont need to do it any more. Word processors and desktop publishing programs are clever: they automatically add extra space after a full stop, and have done since at least the 1990s. If you type two spaces then the program will add even more space and it just looks weird. Someone has to go through your document taking all those doublespaces out again. WOR D S PA R AG R A P H S E T T I N G S A R E YO U R F R I E N D S Some publications still ask for double-spaced lines on a paper manuscript. If you have to provide this, do it by using the Paragraph settings in your word processor. Dont just type a line of text then hit the <Return> key twice. Instead, go into the paragraph settings and change Line Spacing to Double That way, when they ask for the digital version, youll be able to give them something they can use straight away. (Exactly how to do this will depend on which version of Word or other word processor you have. Use the programs built-in help facility or just search on Google.) While Im on this subject, dont indent the rst line of a paragraph by typing three space characters. Again, this might have worked on a typewriter but its another thing your designer has to go through deleting. If you want each paragraph to start with an indented line, use the paragraph settings in Word to do it. (Google for how to indent a paragraph in Word.) Another thing (Im on a roll now): If you want to start a new page, use Words Insert page break function. Do NOT just hit <Return> again and again until you reach the bottom of the page. That might work for you while youre writing, but as soon as you revise an earlier part of the document or the designer re-formats the text the article ends up with an enormous lump of empty space at a random point somewhere in the middle.
D ON T T Y P E YO U R H E A DI N G S I N C A P I TA L S Look through a few magazines. How many headings are in capitals? Not many. If you type your headings in capitals, the designer will just have to re-type them him- or herself. It may not take that long but it all adds to the workload. (Word does have a feature that converts capitals to initial capitals, but its not very clever: You End Up With American-Style Headlines Where Every Word Is Capitalised.) D ON T E M B E D P IC T U R E S I N YO U R WOR D D O C U M E N T If youre able to provide pictures to go with your article, thats great. Just dont stick them into the Word document. It really, really doesnt help. Provide them as separate les in a standard format which for photographs usually means JPEG (.jpg) les. If you embed them in the document itself, the designer will have trouble extracting them again and they may not be of good enough quality. If the picture needs to go at a certain point in the text, add a note to the designer to say so, for example: [Image PARAGLIDINGFERRET.JPG goes here] Talking of which, make sure any pictures are of high enough resolution to be published professionally. There are many ways of measuring this, but the simplest is this: Look at the properties of the picture and nd out its height and width in pixels. The minimum acceptable level of detail for a professionally-printed publication is usually 300 dots (or pixels) per inch. So if your picture is 600 pixels wide, its good enough quality to be printed in a magazine at up to 2 inches wide perhaps 3 inches at a stretch, but no more. As a general rule, pictures and logos copied-and-pasted from web pages are not good enough quality to go into a printed magazine unless theyre going to be printed at a very small size. KEEP IT SIMPLE This is possibly the most important thing to bear in mind. Your manuscript should be clear and readable, but nobody cares about its exact appearance. If its published, it will be changed to t into the magazines house style. That means font style and size, line spacing and everything except the actual words themselves may be altered. You can make this task easier by keeping to a single font and style. If possible, dont use any fancy effects beyond bold and italic. Do not try and lay out your piece the way you think it will appear in the magazine: it wont help and will probably make things more difcult. For instance, if the magazine has two-column pages, it does not mean your Word document needs to be laid out in two columns: the designer will sort that out. Just make sure you provide a nice simple document that can easily be copied-and-pasted into whatever software the designer is using. It might just increase your chances of being asked to contribute again.
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p oe m on a p o s t c a r d
Results
Poem on a Postcard
Our Poem on a Postcard competition received a terric response and postcards arrived almost every day throughout the summer. Our new postman was very impressed with how many postcards we received. It was a very enjoyable task judging these poems but we all agreed that Val Boolers response to the postcard of Anne Boleyns Lute from Hever Castle was the outstanding winner. Congratulations Val. Lute Music bewitched us: a thread of melody to bind our souls. We could live in harmony if you danced to my tune. I plucked your heartstrings until they snapped. Such a little neck, my lute and I. Come one last song before I die.
Val Booler
We loved the way that Val used the image to conjure a poem about a well-known subject, but to explore it with such clever use of words.
p oe m on a p o s t c a r d
Results
And we couldnt resist sharing a couple more of our favourite entries.

Birdsong Pigeons knock on wooden morning then slap the afternoons. They are wet shirts, apping their sleeves as they rise from the garden. Five syllable coos, soft as scrunched paper, are the sound of tree shadows, of leafy peace, of dark shelter.
Catherine Ayres
Writers often forget to evoke the sense of sound in their writing, but for Catherine it was central to this delightful piece about a familiar bird.
Thank you to H ever Castle for thei r kind permissio n to reproduce this image
Guilt I hear the music I hold it in my heart Fearful it will fade Leaving me with only its echo And the lingering doubt That the song Was never mine to hear.
Lesley J Fuller
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We can all relate to this enigmatic little poem.
w r i t e r s & a r t i s t s y e a r b o ok 20 13
Writing a synopsis
Writing a synopsis
When publishers and literary agents ask for a synopsis to be submitted, writers often misunderstand what is required. Rebecca Swift provides clarication.
he dictionary de nition of synopsis (derived from the Ancient Greek meaning) is a brief description of the contents of something. The purpose of a synopsis is to inform a literary agent or publisher of the type of book you are writing/have written in a concise, appealing fashion, conveying that you are in command of your subject matter. If you want your manuscript to be given serious consideration, a good synopsis is a crucial part of your submission. This Writers & Artists Yearbook will inform you that most publishing houses no longer accept direct submissions but those that do (usually the smaller houses) will most often ask for a cover letter, synopsis and sample chapters rather than a whole work in the rst instance. The same applies to literary agents. To put it simply, the sample chapters are to show how you write, and the synopsis is to tell
the reader what happens when they have nished reading them. This will help inform the publisher/ literary agent whether they think it is worth their while to read more. Then, if they want to read more, they will ask you. So, the bottom line is this if you want to have your manuscript read in its entirety you must invest time in getting your cover letter and book synopsis right. I know from my experiences at The Literary Consultancy (TLC) that many writers can get disconcerted and nervous by having to produce a synopsis and there are usually two reasons why. First, a writer might have an unwieldy story that they themselves are not 100% convinced by, or a nonction project that they do not really know enough about. If this is so, summarising can be difcult because the thinking through and planning of the project has not been thorough in the rst place.
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Writing a synopsis
In this instance, I would urge the writer to question why this process is so difcult. If it is because the story is insufciently clear, persuasive or gripping, then more work needs to be done to get the manuscript into the kind of shape that would persuade an agent or editor to consider it further. Second, a writer might genuinely be able to write a good book but not be experienced in the art of summarising a work in an effective manner. A few might even consider the act of doing so demeaning. If this is the case, I would urge you to think not of yourself, but of the reader, and treat the project as a literary exercise which you should try to enjoy: a challenge and opportunity to show your work off in its essential form. It might help to refer to book blurbs, or plot summaries in reference books such as The Oxford Companion to English Literature, or online, for example in Wikipedia. In addition to letting a professional reader know what happens in your manuscript, the synopsis will also let them know at a glance if you have thought about how your work ts into the market. This is critical in non-ction, less so with ction, although with ction awareness of what genre you have written in is vital. Also, if what you are writing coincides with any major anniversaries, for example, or might have a marketing hook of any other kind, this is important to mention if not within the synopsis itself, then within a cover letter (see below). F IC T ION S Y N OP S E S A ction synopsis should comprise a brief summary followed by a more detailed synopsis. But before writing either of these, you must clarify which genre your work ts into. The most important thing to realise about ction in respect of how you present it to representatives of the publishing industry is that it breaks down into different types, or genres. For those who think that the obsession with genres is a modern phenomenon, the lines from Polonius famous speech in Hamlet might serve to prove the opposite. He describes the actors who have come to court as The best actors in the world for tragedy, comedy, history, pastoral, pastoral-comical, historicalpastoral, scene individable, or poem unlimited. Some of these dramatic forms are familiar and others not. There are always more genres being invented or crossfertilised. It can be difcult to keep up! The most popular genres today are, broadly speaking: crime, thriller, psychological thriller, detective, sci-, horror, comic, chick lit, lads lit, historical, saga, literary, graphic, experimental, erotic, fantasy, romantic, womens commercial ction and literarycommercial crossover or, as its becoming more widely coined, lit lite. Classifying your novel within a genre can be a challenge. This is largely because when most people start to write a novel they do so without having studied the genre they are writing for. Although when you start to write you may feel free to explore, practise and experiment without thinking in terms
of the dening limits of a genre, by the time you come to submitting your work to be published it is very important to know which genre your work ts into. In all art forms there are rule breakers, but almost inevitably as in the cases of Picasso, Virginia Woolf and, more recently, the US writer Michael Cunningham even the greatest artists have studied the traditional forms/genres before taking any risks. A good starting point is to read books you consider similar to the one you are writing that are already published, and note how they are classied on the back cover. By reading, and sometimes studying literature and writing through other routes, you will also learn the possibilities and limits offered by your chosen genre. The bad news is if you dont clarify what kind of book you have written, the chances are it will reect in the text. If you dont clearly inform the agent or editor what your book is about and which category it falls into, it may all too quickly be labelled as a work which falls between two stools, is impossible to market and so doesnt get considered any further. W RITING A BRIEF SUM M ARY Having made it your top priority to identify what type of novel you have written, you can make a start on your all-important synopsis. All good synopses should begin with a brief summary of 3075 words, the sort of thing which appears on a books back cover. For example, had you written Pride and Prejudice today: Pride and Prejudice is a contemporary, literary romance about a woman who falls in love with a man she thinks she hates. Or, Pride and Prejudice, a contemporary, literary novel, tells the story of Elizabeth Bennett, a proud, intelligent woman, one of ve sisters, whose mother is committed to marrying her children off as a matter of urgency. Elizabeth meets Darcy, owner of a grand estate, but considers him overly proud, arrogant and undesirable. In time, she learns that he is not all that he appears to be, and revises her prejudice, before they fall deeply in love. Both these examples, one short, one longer, serve to whet the appetite for more detail to follow. An example of an ostensibly weak synopsis, which rambles and fails to emphasise the most important points quickly enough, might be: Set at some point in the 19th century, ve sisters are looking for husbands. Or is Mary, really? Anyway, their mother is a real fusspot and annoys everybody. Outside their house there are lots of elds and it is sometimes raining. The girls father is gentle and kind, with grey hair but not good at standing up to his wife always. Mr Bingley is an important character who is very handsome, but is he as handsome as Mr Darcy? It is hard to tell! Hopefully you can see the clear differences between the two.
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Writing a synopsis
W R I T I N G A DE TA I L E D S Y N OP S I S Following the brief summary should be a more detailed synopsis of 350450 words. Literary agents do not want a detailed chapter-by-chapter breakdown (if they do, theyll ask for one) as reading them can be tiresome and difcult to follow. The main aim of the longer synopsis is to give a detailed overview which clearly and concisely conveys how the story ows and unfolds, and (very importantly) what is interesting about it. The longer synopsis should also reconrm when the story is set (i.e. is it contemporary or historical?); the setting or background (e.g. is it Thatchers government in its last throes or are we in a quiet Devonshire village where nothing ever happens, but there is a sense of impending doom?); inform the reader about the central character (i.e. what is interesting about them and what happens on their journey), as well as giving brief reference to other characters that are directly pivotal to the plot. The longer synopsis should also highlight the dramatic turning points and tell the reader of any other salient information which will help convey what kind of work it is, how well imagined are the characters involved and how well thought through and alluring is the plot. C OV E R L E T T E R Alongside the synopsis should also be an excellent, economically written and condent sounding cover letter. This should simply address a wellresearched literary agent by name (never put a generic Dear Sir/Madam). In this you should say that you are enclosing a novel called X, which is a thriller/literary/coming-of-age/ horror novel (identify genre). It does not matter if this is repeated on the synopsis page. You may also wish to refer to writers you feel you are similar too, although do be careful not to have misplaced arrogance in this. You might say, I write in the genre of John Grisham because he is a writer I read and hugely admire or you might say, This is a novel in which To Kill a Mockingbird meets Crash or Harper Lee meets J.G. Ballard but do be sure that you have the talent to match claims like these. Otherwise, let the agent decide and they will help market you to the publisher, and the publisher will then help market you to the public. If you admire an agent for a particular reason, such as they publish a hero or heroine of yours, let them know. B IO G R A P H IC A L N O T E If you have something interesting to say about yourself, such as that you have won a writing competition or have been published before in relevant publications, do include this briey in the cover letter. It is for you to judge what is of particular interest about you, and how much to say, but you should also provide a fuller biographical note which sits well at the bottom of the synopsis page. As a guide, this should be 50200 words. If you have been published, provide a summarised list of publications here. If you have not, or are trying to hide a career you think has gone off track and want to appear fresh, keep it brief and mention what you
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do, your age and anything that makes you sound interesting. If your career is related to your subject matter, then do say this. For example, I worked as a miner for 20 years if your book is set in a mining community. Avoid listing technical publications as evidence of writing ability if you are submitting ction. There is an enormous difference between writing technically and writing ction, and if you dont seem to know this it is not impressive. This is different for nonction. As a rule, err on the side of brevity if necessary. If the reader loves your work they will be in touch to nd out more about you. For help with learning how to selfmarket read Marketing Your Book: An Author's Guide by Alison Baverstock (A&C Black 2007, 2nd edn). It should be noted that if the work is literary, there may be less emphasis on plot and more on the quality of the prose. Due to current climates and publishing trends, this is a difcult time to publish literary ction without strong plots, although things undoubtedly will change. C ON C LU S ION Whilst it is worth spending time ensuring you have a good, short, condent cover letter and synopsis, it is important to stress that there is nothing as important to an editor than the quality of your writing and your ability to sustain the interest of a reader in the main body of the text. A synopsis is not a magic wand that will inuence the real standard of a work. I have seen perfectly polished synopses followed by poor writing. The net result of this is that one feels excited, only to be let down, which is off-putting in itself. If you have the skill to write a gripping synopsis, use your energies wisely in advance of submitting to make sure that the book itself is as good as it can be. Focus, particularly, on ne-tuning the opening 50 pages. Your synopsis and summary should generally serve as a ag to indicate to the reader at what point the extract begins and a guide to the story beyond it. If the agent or publisher likes what they see well enough to ask for more well done! Oh and good luck.
You can buy a copy of the Writers and Artists Yearbook 2013 at the reduced price of 12.99. See page 64
Rebecca Swift worked as an editor at Virago Press and writer, before co-founding The Literary Consultancy (www.literaryconsultancy.co.uk) with Hannah Grifths in 1996. She has edited two books for Chatto & Windus, published poetry in Staple, Vintage New Writing and Virago New Poets, written an opera libretto, Spirit Child, and Poetic Lives: Dickinson (Hesperus Press 2011). This extract is used with kind permission from Writers and Artists Yearbook 2013 You can buy a copy of the Writers and Artists Yearbook 2013 at the reduced price of 12.99. See page 64
t h e w r i t e r s b o ok s h e l f
THE WRITERS BOOKSHELF

I N S I DE S T OR I E S F OR W R I T E R S A N D R E A DE R S Trish Nicholson Publisher: Collca B E C OM E A FREEL ANCE WRITER Rachael Oku Available as a Kindle e-book THE KINGS ENGLISH HW Fowler & FG Fowler Publisher: Hardpress Publishing
Trish Nicholson offers up her thoughts and experience on aspects of writing here, sharing her love of storytelling, and she does something different than a lot of writing books; she also includes her own short stories alongside the topics so that she can illustrate the thoughts she is sharing with the prospective writer using her own creative works. In so doing, this book becomes one for writers and for readers, too; as the author states, this is a book of show and share rather than tell and teach. There are sections on inspiration, characters, themes and titles, structures and plots, voice, language and dialogue, critiquing and editing, and maintaining momentum. This guide is structured well and is a nice size and weight too; I am using it at home but it is light enough to take along if you were writing away from home or using it at a writing group. The author suggests using the book as a supportive, inspiring friend you can visit any time for a quick cuppa and a word of encouragement, and goes on to say that the resources contained within are also useful for writing groups and workshops as well as for working alone. Also included (in the print edition) is From Apes to Apps, an essay by the same author discussing the development and importance of stories and storytelling in the lives of humans. Trish Nicholson is an inspiring author and there is a wealth of useful, honest advice shared in a friendly manner here about the process of writing. This is de nitely a rewarding and encouraging book for anyone looking to write, and I will be returning to it again and again. Lyndsay Healy, Cambridge
Delivering exactly as it says on the packet Your Complete Guide to the Business of Writing this little book imparts all the information a writer requires to build a successful business, your own brand, from freelance writing. Submission letters to keeping records of published work, all components of a writer`s life are covered within these 52 pages. Common sense, often overlooked, is at the core of the advice. Discovering the time and place when you are most creative appears simple but could contribute to improving the standard or writing. Rachael encourages writers to utilise strengths, skills and knowledge as a rm base on which to build a business. Self promotion is recommended publicising any praise or commendations received. This very experienced author has not overlooked the importance of budgeting your time and your money so that neither is wasted. Despite not being a guide to writing skills she has stressed the importance of presentation, editing, accuracy and minute attention to detail that the book itself is an inspiration. With the inclusion of dozens of websites and links to sources associated with the art of writing this handbook is a necessary addition to the library of writers, novice or experienced. I will certainly be recommending it to the members of my writing club. Sheila A. Grant, Kilmarnock
When aged sixteen I had occasion to write a letter to my grandfather. I happily chatted away using dashes and many exclamation marks in my writing. His response was to send me Fowler & Fowler The Kings English. I dutifully wrote back to thank him, using correct grammar and punctuation. After all, I did know how to write properly, I had just chosen not to do so. It became a bit of a family joke. Now in my fties, my grandfather long dead, Fowler is still on my shelf of reference books. My edition is the OUP Oxford Paperbacks third edition and has on the cover a severe looking king in the style of a playing card. I cannot use it without thinking of my grandfather; a Scot by birth, he rmly believed that a good education was the best gift for a child. Gayle Mayes, London
Common sense, often overlooked, is at the core of the advice. Discovering the time and place when you are most creative appears simple but could contribute to improving the writing.
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w r i t e r s p rom p t
WRITERS PROMPT
James Polley
A few suggestions to get you going 1 A young man spends more time xing his bike than noticing his girlfriend. 3 A father is keen for his daughter to ride but he buys her a bike far too big. 4 Having had his bike stolen a widower remembers all the times in his life that the bike was important.
Next summer the Commonwealth Games will be held in Glasgow with cycling very much on the agenda. Cycling is an adrenaline-packed mix of tactics, speed and endurance. Challenge yourself to capture these qualities in your writing in a story or piece of microction inspired by the photo above.
Send your responses, prose or poetry, to editorial@thenewwriter.com and we will print a selection of the best in a future issue.
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w r i t e r s p rom p t r e s p on s e
WRITERS PROMPT RESPONSE
Poppies
Red eyes amongst the gold, Demonic eyes, Burning rubies, The farmers' curse. Splashes of blood Enrich the soil That enriches the crop. Life blood To staff of life, Fragile beauty Carries such a weight of woe.
Ruth Cargill
Once again two very different poetic responses to our photo prompt. We were also pleased to read short stories and a piece of very short ction.
All Changes
They werent here yesterday, Those vivid scarlet poppies, Nestling in the tawny corn. A short a time ago, in spring, This eld was green as grass, Soaring skylarks sang sweetly, Enchanting the spring morn, Then swooped down to nests concealed in sprouting corn, Feeding their new generation. Now edglings join the choir, Singing against a cobalt sky. But on the distant horizon, Inky-black storm clouds gather, Portent of a violent storm. On return, a few days later The corn is gone, mowed down, The scarlet poppies, obliterated. The like will not be seen again, That is not until next year!
Julie Freeborn
Andy Key
We aim to publish at least one response from Writers Prompt and Readers Challenge each issue. Do use these prompts to inspire your own writing or as an exercise with your Writing Group. See pages 7 and 48 for new inspirations.
It was lovely to receive some responses that were not the clichd WWI response that may be expected from an image of poppies in a eld. Both of the published entries examined fragility and endurance, but in very different ways.
thenewwriter.com
49
t h e r e a r e n o ru l e s
Nick Asbury
Nick Asbury implores writers to get on and practice their art
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t h e r e a r e no ru l e s
Nick Asbury
he only necessity is practice. Writing, in whatever capacity, is communication and therefore is an art form. As an Art, it is a craft that must be worked on constantly to improve. Then it can be sold. The craft is what people pay for. I am a professional actor, musician and writer. To me, the hours that I spent as a teenager practicing the piano; or the hours at Drama School and the subsequent years on stage; or the days, months and years writing my last book are all working towards being an Artist. They are exactly the same thing. In order to communicate, one must nd an audience. As a young musician I would practice and practice for something whether it be an exam or a concert, and then I nally joined a band and we would just play for each other and eventually for other people. What came out was us. Raw certainly, but it was us. (Yes, there was the important joy of just sitting down and playing for oneself which nowadays is a meditation but most often I learnt by knowing I was to be listened to.) As an actor, the audience is obviously a given. The very medium requires it. At College we once spent a tortured afternoon discussing whether art/theatre was Art if no one saw it and didnt know it existed. The whole discussion was masturbatory in more ways than one, but it highlights the plight of the lone writer, sitting at their desk churning out words for a potential audience of none. The solution, then, is nd an audience. This, happily, is much easier in these days of blogspots and baloney, which can serve as a useful focus for the writer. Just put it out there and get better because of it. I became published as a writer because I unwittingly found a platform. I was performing with the Royal Shakespeare Company in a particularly pressure cooker environment, staging eight of Shakespeares History Plays for nearly three years. It was an extraordinary time for me as an actor/artist, and I
felt that this experience was enhanced by the interaction with the audience over the course of such a long time. I started a blog on the RSC website to strengthen that communication and bond still further, which was eventually published as a book. I am very lucky a) to have had that platform and b) to have had such a thing to write about writing about what I knew was never so easy: it was my life. However, there is a point in that rst book, Exit Pursued by a Badger (Oberon 2009), where I become a writer. I will leave you to nd out where it is, but to me it is fairly obvious. Up until that point I had been writing and writing and not really thinking of who might be reading it, just writing. I was practicing, basically. I had thought about some of the tenets of writing get a beginning, middle and end etc but I was just rejoicing in nally being able to say something about this amazing time. Then, after about 9 months of this, I began to realise that people were actually reading this stuff, and that not only did I have a platform, I had a duty to make it readable. Suddenly, my brain started formulating, planning and delighting. Art. It was that instinct to think of my audience, to communicate and to play that, I think, nally saw whatever I was writing into print. I also learnt a hell of a lot in a very short space of time I was working incredibly hard as an actor, and had no real time to write, therefore I had to communicate with speed and brevity. It teaches one to edit to think of the audience very quickly. So, plenty of others can tell aspiring writers how to get published, how to nd a literary agent, how to structure an article, a story, a book. All I can say is that writing is an Art and it depends on the life that you lead. Do it, think of your audience, do it again. Being an artist is about life, and how you live it. Breathe it. There are no rules.
White Hart Red Lion by Nick Asbury is published in paperback by Oberon Books, price 14.99.
I also learnt a hell of a lot in a very short space of time I was working incredibly hard as an actor, and had no real time to write, therefore I had to communicate with speed and brevity. It teaches one to edit to think of the audience very quickly.
thenewwriter.com 51
ho w t o w r i t e f or t h e ho w- t o m a r k e t
Suzanne Ruthven
I N T R AY
How to write for the how-to market

BY SUZANNE RUTHVEN
veryone, at some time in their lives, needs to learn how to do something they have never attempted before. Planning a wedding, preparing an after dinner speech, considering a career change, writing a stage play, taking up a new hobby, organising a holiday, improving a life-style, joining a horseracing syndicate, making a WWII Woolton pie, downsizing a home the list is endless. And if anyone has ever asked how we managed to achieve any of these things, then we have something to write about. How-To writing can run from readers letters and magazine llers on how to organise a successful car boot sale to a full-length self-help book on, for example, Exploring Spirituality. Or as one interviewee commented in a Daily Telegraph article: A lot of us have expertise without realising it. Put a question about something you know well into an on-line search engine and youll be surprised how many people have asked the same question before. If other people dont know how to do something and you do then you could write about your expertise. It goes without saying, of course, that to write convincingly on a subject and be able to impart the appropriate information means that we are following the old adage of writing about what we know for the benet of our readership. How-To topics can cover every aspect of Life family, hobbies, career, lifestyle and, needless to say, our expertise is drawn from our own experiences, or
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the experiences of those close to us. The particular hook (or spin) that we put on the narrative to cater for a specic target market, however, will depend on where we see ourselves tting into the picture. Its not enough to write on a subject with mere enthusiasm because all How-To, Self-Help and Self-Improvement topics need to reect life as it is lived by those who have already lived it. And imparted to the reader in a way that will encourage them to follow our guidelines or example. The informal, inclusive style of using we and our also lends itself perfectly to Self-Help and SelfImprovement books, because we are implying that weve been there and are now using the t-shirt for dusters. We are identifying with the reader in their present situation, and they with us. Were settling down for a cosy chat rather than a lecture because the patronising, exclusive style that uses you all the time, often comes across as smug, school-marmy and unsympathetic. In true writing tutorial tradition, we are showing, not telling. How-To and Self-Help titles are possibly among the easiest of books to write and sell, because we are writing from personal experience, and will already have the necessary contacts to embellish the text with the experiences of a wide variety of other people to provide depth, corroboration, humour and anecdote. We dont need to write the chapters in strict sequence because each one has a slightly different slant or approach. We may have sufcient research
ho w t o w r i t e f or t h e ho w- t o m a r k e t
Suzanne Ruthven
material to hand to nish one chapter, while another takes much longer because of the need to obtain more material or permissions. By rule of thumb, well know if we have enough material for a full-length book on our chosen subject if we can comfortably write 45,000 words, broken down into approximately 10 separate chapters; divided by approximately 10 sub-headings for each chapter. This means each chapter will contain around 4,500 words. Once our How-To book has been published there are various spin-offs that will help promote sales and earn higher royalties. Magazine and newspaper editors will be keener to accept article proposals from an author whose book has just been, (or is about to be) released, because the publishers acceptance is an endorsement of our writing ability. This can be a feature in the form of an extract from the book, or a shorter article adapted from a single chapter. Needless to say, an editor is hardly likely to make any payment for the piece since it is an extract and not previously unpublished. Nevertheless, it is well worth the lack of fee in order to get our name (and book title) out there amongst the reading public, especially in specialist magazines where there will be a higher proportion of interest in our subject. Short, sharp snippets of How-To information can provide valuable llers and most magazines and
newspapers are eager for such material. Handy hints and tips can be drawn from all kinds of gardening and kitchen craft, while simple health and beauty llers can be aimed at womens magazines and the womens pages in newspapers. Any magazine or newspaper, in fact, can be the target for How-To llers and Letters to the Editor. There are also online websites in the UK and the USA that specialise in How-To material, such as eHow. com or wikihow.com trawl the internet for HowTo sites. Others include www.websearch.about.com, www.lifehack.com and www.makeuseof.com. Make sure the company really will pay for any material they use some make tempting promises but move the goalposts if contributors appear to be reaching the targets too easily. Choose your site carefully and the potential earnings are ongoing, since the more pages you write, the more money you can earn from advertising revenue. Log on and have a look at how easy it is
Suzanne Ruthven is the author of How To Write for the How-To Market published by Compass Books ISBN 978-1-78099-722-3 UK11.99/ Paperback or ISBN 978-1-78099721-6 UK6.99/E-book
guisegifts.com
NOW LIVE! guisegifts.com is the new online shop for newbooks and The New Writer. guisegifts.com went live in early May with lots of highly desirable gifts for writers and readers more than we have space to include in the magazines. So as well as Sarah Hough and Moleskine; Instead of a Card and 100 Must Reads were bringing back the Penguin mugs and adding new items as fast as we can. Why not check us out youll be surprised at what weve found! guisegifts.com Perfect gifts for passionate readers and aspiring writers
thenewwriter.com 53
r e a de r s c h a l l e nge r e sp on se
Dieback by John Bainbridge
he tree was bare. Last year the branches had been heavy with lush green leaves. Now there were only gaunt twigs and sterile black buds. And yet I could see none of the lesions on the bark that would have conrmed its condition. What are you looking at? I had not seen her approach nor heard her footsteps in the grass. This tree, I said. I think it might have the disease ash dieback. I saw that on the telly, she said. Dont you have to report it or something? Yes, I think so. Only Im not sure if thats what it is. She was one of the newer girls in her midtwenties, maybe. I had seen her a few times but I didnt know her name. Her dark hair was tied back. She was small and slim but with an attractive gure outlined by the green overall. She held a half-burnt cigarette in her right hand. I noticed a small tattoo on her wrist. Youre Mary Lomaxs son, arent you? she said. Yes, I am. Ben. Im Maxine. Its my break. Ive come out for a smoke. Its one of my vices, Im afraid. She smiled. I smiled back at her. I didnt like to see her smoking I didnt like the tattoo either but it wasnt my place to say anything. Maybe its the ood, she said. The ood? Killing the tree. The water all runs down from the elds. The drains dont work properly. Maybe thats whats killing it. It was true that the ditch beyond the hawthorn hedge was full and it was overowing into the grass but the other trees seemed healthy enough. Is ash more susceptible to waterlogging, I wondered? Maybe, I said. But I still think it might be dieback. Theyll have to cut it down, wont they? I expect so. She nished her cigarette and ground the stub into a tobacco tin that she then slipped into the pocket of her overall. Shes nice, your mum, she said. I get her dressed in the mornings sometimes. Shes really sweet. I know, I said. She asked if I was ready to go inside and we walked together to the front door. She keyed in the security code and we went into the cool hallway. I signed the visitors book and thanked her for letting me in. See you later, she said.
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DIEBACK
BY JOHN BAINBRIDGE
In TNW115 we asked subscribers to write a short story of no more than 1500 words starting with the line The tree was bare
r e a de r s c h a l l e nge r e s p on s e
Dieback by John Bainbridge
We liked the way that John used the image of a healthy-looking but dying tree to illustrate and enrich the story of an old lady in a care home.
I spotted my mother by the window at the end of the long conservatory. To reach her I had to walk along a gauntlet of other old women some sleeping, some muttering, some swearing, others grasping with reaching hands. Hello, Mum, I said. She looked at me in bewilderment. Then there was a moment of recognition. What are you doing here? Ive come to visit you, Mum. Its Charlie, isnt it? No, Mum, its Ben. Charlie is my brother. He lives down south. He doesnt come. I pulled up a chair and sat down beside her. She looked worried, almost afraid. Her face was deeply lined and she had lost weight recently. The blue cardigan that had once tted so well hung loosely from her thin shoulders. Have you come to take me home? she said. No, Mum, Ive come to visit you. This was her home now. She had to sell her house to pay her care fees. Only in her mind does she go back there. Is it going to rain? she asked. I dont think I brought my coat. You wont need your coat. Her pale eyes gazed at me through her spectacles. Her hair was white and thin. I remembered all those photographs of when she was young with long dark hair. I remembered when she actually looked like that. I thought of her taking us to school Charlie and me holding both our hands. Our own children must now be older than she was then. Ill need my coat to go home, she said. I cant go without my coat. What could I say? Her coat was, of course, upstairs in the wardrobe of her en-suite bedroom. But telling her that would be meaningless. She did not understand that this was now her home. Where she slept last night was already a mystery to her. One of the women brought her medication. After a lot of persuasion she swallowed the tablets one at a time. She did not understand what they were. She takes a handful every day. They are to lower her blood pressure, keep her blood owing, control her heart beat and strengthen her bones. In other words they are to keep her alive. Its Charlie, isnt it? she said again. I told her that Charlie lives a long way off. He cant come very often. Im Ben, her other son. Shed have to make do with me instead. Once she would have laughed but her sense of humour has long deserted her. Maxine arrived with a clipboard. She stopped to talk to each of the other women and at last reached us at the end of the room. Hello again, she said and, turning to my mother: Mary, what would you like for your tea? My mother looked at her. She did not understand what she was being asked. She was once headmistress of a large village primary school. She inuenced the lives of generations of children. She was respected
and admired. She was used to making big decisions. Now she cant decide between spam and sausages because she cant remember what either of them is. Would you like spam? Maxine asked. She held her pen poised in her right hand. The tattoo just showed below the cuff of her overall. Shall I put you down for spam? I suspect my mother doesnt like spam certainly I dont remember her ever giving it to us to eat at home but it is a word that is vaguely familiar to her so she nodded her head just long enough for Maxine to tick the box on her form that said spam. Spam it is, the girl said. And Im sure Maxine ticking boxes on her form enables the manager to tick a box on another form that says we give the residents a choice at mealtimes and this will improve the homes rating when the inspectors come. Who was that? Mother said. Maxine, I said. Shes one of the carers. What did she want? She came to ask what you wanted for your tea. Did I tell her? Yes. I dont remember telling her. You said you wanted spam. Well, she hadnt actually said she didnt want spam. What for? For your tea. But, Charlie, I wont be here for my tea. Im going home. Maxine walked past collecting the empty teacups from the little side tables. She smiled at me. Pity about the tree, she said. I know. I thought about how young she looked. My mother has been retired for longer than Maxine has been alive. Children she taught have become grandparents. Children too young to know her have grown up. To Maxine she is just a sweet old lady. If she had known her before she was old she might not have thought her so sweet. Have I brought my coat? Mother said, becoming agitated. Ill need my coat! Its all right, Mum, I said. Its all right. I held her hand. The veins were large and blue and there were bruises where things had touched her. She looked at me for a while and then her eyes began to close. She wakened with a start but, although I still held her hand, she had forgotten I was there. Its all right, I said. She turned her eyes to the window and I followed her gaze out towards the garden. I have no idea what she saw there, nor what sense she made of it. But I saw the long expanse of lawn leading to the overowing ditch at the edge of the eld. I saw the hawthorn hedge splattered with blossom. And I saw the trees the green, healthy poplars and willows, the tall silver birch and, among them, the dying ash that would soon be gone.
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w r i t e r s grou p t h e r a p y
Simon Whaley
Too scared to go
BY SIMON WHALEY In TNW116, Susan Craig from West London, asked on the letters page (Write On, page 62) if any readers had experienced something similar to her dilemma. Shes recently moved to a new area, and is looking for a new writers group. I did a quick search on the Internet, she writes, and found a couple of groups that are fairly local, but they both look really professional. One focuses on writing for the screen, so its not really me anyway, but the other one does look interesting, meets once a month and is within walking distance Ive been here two months and Im too scared to contact them, let alone go! I did think about trying to set up a new group, maybe some ads in the local bookshop and the pub, but what if nobody came?
irstly, Susan, your dilemma is quite understandable! Every member of a writers group has had to walk through the door for the rst time, and it can feel daunting, cant it? However, before you go to all that effort of starting up a new group, try to pluck up the courage and visit the existing group, especially as its within walking distance. It may be the perfect group for you, but until you go and have a look, youll never know! Trisha Scott, Joint Secretary of the Broadstairs Writers Circle (www.broadstairswriterscircle. blogspot.co.uk), has the following advice. If theres a contact number, or email, for the group, contact them before you go and ask them if they would kindly look out for you and say youre a bit nervous. This is great advice. Firstly, making contact by phone or email is not as intimidating as walking into a room full of strangers. You can do it from the comfort of your own sofa! It also gives you the opportunity to nd out more about the group, to see if it really is right for you. Spend a few minutes jotting down some questions that you can ask either by phone or by email. Things to consider include: How big is the group? How many members attend most meetings? This may help settle your nerves, if you know how many people are likely to be at your rst meeting. How does the group operate? What happens in a typical meeting? Are sections of the meeting set aside for criticism of members work? Are meetings themed in any way? Knowing what to expect from your rst meeting will make it less daunting. Are members expected to read something out? Many groups re-assure you that you dont have to read anything out if you dont want to. Does the group accept all writers, or just those with an interest in a specic genre, or area of writing, such as poetry, romance, or crime? Having writers who share your interest in writing means theres more chance of sharing and exchanging knowledge and ideas. What writing experience do group members have? If the group includes writers whove been published, or won competitions, its a good sign that some of them know what theyre talking about!
WRITERS GROUP THER APY
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w r i t e r s grou p t h e r a p y
Simon Whaley
Its worth writing down a few points about yourself before you get in touch, so youre prepared for any questions you may get asked on the phone, or might want to include in your approach email: What sort of writing are you interested in? What writing successes have you had, if any? What sort of support are you looking for? If the responses to your questions are positive, ask if you can go along to the next meeting, and check the correct date, time and venue. Most groups will look out for a new face. If you can, arrive early, when there are fewer people around. If entering the room on your own worries you, or if nding the right room at the venue isnt easy, ask if you can meet the person youre liaising with outside the main entrance at a specic time, before the meeting. That way, you wont be walking into the venue on your own. Remember that going to the meeting does not commit you to membership for life! Its vital you nd the right group for you, and if it transpires that this local group isnt what youre looking for, at least you know. Walk away and look for another group, or consider setting up your own circle. However, as Trisha says, dont base your judgement on that rst meeting alone. You need to go more than once. Different people often go on different occasions, so you cant tell from just one visit. You will like and get on with some people at the group and not others, like in a class environment. Dont be disappointed if you dont get on with everybody. Its not obligatory! Make the most of any free time at the meeting, such as coffee breaks, because this is ideal for getting to know the other members. Join in general chit-chat with people around you, recommends Trish. You learn a lot or get offers of help. Some groups have a relaxed membership. You dont have to go to every meeting, suggests Trish, if you prefer to go less frequently. Just keep in touch with the meeting schedule on the writers circle blog or website. After two or three meetings youll soon have a feel as to whether the group is right for you. If a membership fee applies, some groups dont charge for the rst few meetings, whilst you try them out to see if
theyre right for you. Make the most of these options. Carol Warham, from Yorkshire makes the point that most groups are friendly. I have joined courses and a local writing group over the years and have always been welcomed at any. However, being based in a rural location she recently set up a group in her own village. This was a difcult decision to do and intimidating, she says. I advertised in the local library and on the rst session three came. The following session we boosted our numbers to about ve or six, and now, although there are about nine of us, it can be anything from two to six coming along. One of the benets of starting a new group is that everyone who comes along is therefore new to the group at the start. All seem to have been relaxed at coming along, says Carol, possibly because it was a new venture and everyone was new. It was very, very scary for me! Despite being the originator of that group, Carol says that she still feels scared at times. I feel a sense of responsibility for organising it and keeping it going. And its worth remembering that. Starting your own group may avoid that moment of walking into an existing group for the rst time, but it does have other implications. And if you do set up your own group, you have no control over who walks through that door and wants to join. So, pluck up the courage Susan, and get in touch with that local group. Youll probably nd all of your initial fears are completely unfounded!
If you have a writers group query that youd like answered, please email Simon at contact@simonwhaley.co.uk or write to him c/o TNW. If requested, queries will not be attributed to specic groups or members, to prevent any unnecessary bloodshed!
thenewwriter.com 57
m ic rof ic t ion
Silly Billy by Paula Fusco
Billy parks himself on the edge of the bed, careful not to crease the good candlewick bedspread. A wedding present from Gracies Aunt Bea, he thinks he remembers. You wouldnt get a present like that nowadays. Young people today, only interested in things that last ve minutes. Mind, thats how long most marriages last now and all. Next door seems to be out. All quiet on the western front. The stripped carcass of a childs bike lies disregarded in their garden. Reaching under the bed, Billy can just about get hold of the Globe-Trotter suitcase they had used that one time they went to the Continent. Silly Billy, we need to buy one of them ones with wheels, Gracie had said. But they never did. The case isnt too heavy though a bit harder to lift than last time. Gracie had always called him Silly Billy. Used to give him the pip in the early
days. Somehow, he cant remember Paula Fusco was born in Belfast and now when he stopped noticing. lives in Surrey, where its warmer. Many The case smells of Victory Vs years of staying in, watching television are to and a chemically, petrolly tang blame for the characters she creates in her from that groundsheet he bought short stories and she hopes that her readers before and put away. will share her passion for the absurd. What do you want with that, Silly Billy? Gracie had asked, but got no answer. Billy spreads the sheet across the bed; just the right size. The PVC is cold and slides under his ngers as he smoothes it out, top to bottom, side to side. Billy likes to keep their bed nice, the way Gracie used to, pillows plump, bedspread taut, tidy. He ought to take his shoes off really, before he lies down. No point in going to all this trouble if he puts a hole in the blasted sheet. In the war, Billy recalls, the dead began to leak after three days. Better safe than sorry, Silly Billy.
Silly Billy
B Y PA U L A F U S C O
58
of f s c ho ol t h a t day
Sentence structures
Off school that day?

Were you off school on the day they did sentence structures? Zo Fairbairns on what you missed.
Being damp and dilapidated, Peter decided not to buy the house. Common sense tells us that the house is more likely than Peter to be damp and dilapidated; but the structure of the sentence, suggests that it is he who is in this unfortunate condition. The phrase is adjacent to him, not the house. Its called a dangling modier the modier, or descriptive phrase, dangles because it is not properly attached. This can be funny, but it can also be confusing. I caught a burglar in my pyjamas. After blocking Oxford Street for three hours, the police dispersed the demonstrators. To make things clear, rearrange the sentence. The house was damp and dilapidated so Peter did not buy it. Demonstrators blocked Oxford Street for three hours before the police dispersed them. SIMPLE SENTENCES A simple sentence consists of one statement (or question, or command) about one subject. The burglar looked good in my pyjamas. Dont buy that house, Peter. Is Oxford Street still closed? Some new writers fear that simple sentences may make their work look simple-minded, or insufciently literary. They shouldnt worry: some of the most powerful, resonant statements in our language have been simple sentences. Reader, I married him. We shall never surrender. In the beginning, God created the heaven and the earth. Dont try this at home. C OM P O U N D S E N T E N C E S A compound sentence combines two or more simple sentences into one. This allows you to vary the rhythm of your prose, and make clear which actions go together. He drank two pints of beer and smoked three cigarettes. When combining simple sentences into a compound sentence, be sure that they really belong together; dont just string them together and hope for the best. Your reader will soon get tired of reading this sort of thing: He drank two pints of beer and smoked three cigarettes and he wondered where
SENTENCE STRUCTURES
his wife was, it was raining outside and he closed the windows and his phone rang. Instead, combine the sentences in a way that shows connections. He drank two pints of beer, smoked three cigarettes and wondered where his wife was. It was raining outside so he closed the windows. His phone rang. C OM P L E X S E N T E N C E S A complex sentence contains within itself other partial sentences, known as subordinate clauses. These bonds, which are set to double in value, are perfect for pensioners. The words which are set to double in value would make no sense on their own, but their meaning is clear in the context of the longer complex sentence. When using subordinate clauses, be careful with your commas. In the following two sentences, the rst suggests a rather sweeping judgement; the second is more selective in its disapproval. All bankers, who prey on gullible investors, should be locked up. All bankers who prey on gullible investors should be locked up. There are other sentence structures, and, once you know what you are doing, you are free to innovate and improvise. That is how language develops, and even people who know the rules of sentence structure dont necessarily follow them all the time. But it is important to be aware of them, and use them to identify what has gone wrong if you start losing your way in your own writing or anyone elses.
esides not letting your modiers dangle, how else can you make your sentences clear, and as easy and pleasant to read as your material allows? Remember what a sentence is: a group of words that contains at least one verb, and makes sense. A sentence may be a statement, a question or a command, and it may be short or long. The rst 62 words of John le Carres Our Kind of Traitor form a single sentence. The word Stop! may also be a single sentence, Sentences may be simple, compound or complex.
Do you have particular problems with grammar, punctuation or syntax? Let us know.
thenewwriter.com 59
WRITE ON
Write, email, Facebook or Tweet us we love to hear from you
I just wanted to say the thing I love the most is the positivity of the whole magazine. Not the constant How to be published; Top mistakes being published and rejection; How I got published; When I got published; How to present your work to be published. These articles are helpful (dont get me wrong) but too much of it gets tedious. Now Im not saying I dont want help or advice, I do. I've done courses and you can never stop learning from others and its a writers dream to be published (and any writer who says otherwise I feel maybe kidding themselves). What Im trying to say is your magazine is so refreshing and celebrates writing and it suggests rather than dictates. Suggestions such as authors to read, and helpful books, good websites. The amount of poetry for me is perfect, I write poetry and its nice to see it throughout the magazine without being tucked away on one page. On the other-hand too much can get in your face. The whole mixture of all writing is beautifully balanced. As for the stories they are a nice length and not too many either, you have remembered this is a magazine which is lovely to read with a coffee or quick spare moment :-) As for advice? Once again great. Just the mention of Anton Chekhovs quote dont tell me the moon is shining: show me the glint of light through broken glass. Wow, how much did I learn in one sentence! Love the prompts Im a lazy writer and need to be kicked and given incentive. The competitions I normally enter are themed because I love the challenge. I have written many poems inspired by paintings both famous and local artists. If a painting talks to me then words ow, hence your photo prompts work for me too. Things Id like to see? Articles on how to write different forms of poetry. Or any such advice like the quote. Good informative websites, or fun sites or good blogs to follow. In a nutshell my feedback is: I love the magazine, its a great balance, full of life and refreshing. Thank you. Gosh, I have gone on a bit havent I! Nicollette Foreman
As a new subscriber Ive got nothing to compare the last three issues to but my thoughts for what they are worth First, I like the look of the magazine very much. The presentation is clear and unfussy and so encourages me to read on. Too many contemporary magazines try to be too clever in their presentation, which ultimately puts me off as the simple act of reading becomes a chore. As for content, my approach is similar to the one I have for all magazines and newspapers i.e. I quickly come to recognise the 30% of the content that I know will interest me. I do not write or read poetry and so those pages are quickly passed over, although I think it is to your credit that poetry features to the extent that it does. I am however interested in the short story and so read those and any articles of a how to nature. If I had a criticism it is that there are too many articles that come across to me as llers. Instead I would prefer to see more content giving advice/suggestions to new writers. Mick Finn
60
w r i t e on
After a break of a few years, I started once more with my subscription to The New Writer, just prior to you taking over. When I started writing many years ago, I was advised by a literary friend to subscribe, and so I did. At that time I was delighted to nd a magazine that could help get me started and I looked forward to each copy arriving, and the competitions especially gave me a target to go forward. The reason I stopped subscribing was because I became involved in a rather large writing project and now that it will shortly, (hopefully) be completed, I decided I wanted to get back to my literary roots, which was writing short stories. Another subject close to my literary heart is encouraging new writers to nd a way forward, in what can be a very lonely and expensive journey towards publication. I now run courses to help people with North East writer and poet, Roger Harvey. So what do I think so far? here goes then the magazine certainly looks very inviting, and is a classy, value for money, production. No worries thereAs for the content, I am delighted that writing groups are getting good coverage and I very much enjoy reading about individuals who tell their story, be they publishers or writers. I particularly enjoyed the piece about Slightly Foxed in this months edition I love the fact that they are independents who have worked so hard to provide an alternative to the corporate and mass produced markets. That is the good, there is certainly nothing bad or ugly. If I have to give a criticism it is that there seems to be an awful lot of poetry but that is just a personal view as that genre has never been my thing. Otherwise no complaints at all. As for suggestions as a reader I believe that The New Writer by its very name should perhaps have more regular updates and encouragement to new writers who want to move forward with their writing but feel awkward and timid. They need to know that there are many other readers who are in exactly the same boat. Also many dont have the sort of income to attend expensive courses, and I think the gap needs to be bridged somehow so that no one feels they have to be well off to write good stories and achieve publication. All in all though, I am very pleased to be receiving the magazine again. So much so, that when I host my next Write beside the Sea course I will be advising the attendees to subscribe.
Angie Stanger-Leathes www.limelightclassics.com
Tweet Wise
Each issue we will put a question to the world of Twitter and gain quick feedback on a topic of interest. Q: If you could give one piece of advice to someone starting a Writing Group, what would it be? Katrina Naomi Agree ground rules on how to give feedback and stick to these. Buy a timer so no arguments on how long each person has. Jane Riddell Have the right balance of structure and time to mingle with other participants. Christine Howe Its about writing, so be focused. Suggest no talk of generalities until the end of the meeting. Trish Nicholson Share the organising & moderating during meetings (dont have bosses) within the loosest workable structure. alex and jude Make sure everyone has fun and feels safe to play. Chris Lewis Ensure a ready supply of coffee, alcohol and chips and useful it is to have a good wi- connection at your group venue. alex and jude We always have biscuits. Nice posh ones. I did bring seaweed once for a taste/ writing exercise Sarah M Stuart Ensure members write! Set homework piece for next session. Dont need to be an epics & great starters to build on later. Anita Butler Actually do some writing. I went to a group once where people just talked about it. Flugel Meister Read. Trish Nicholson Best advice to writers is to read widely, globally, hear as many voices as you can.
thenewwriter.com 61
CO M P E T I T I O N S
Competitions from
A Question of Writing
CO N G R AT U L AT I O N S
Life Writing Competition Winner: Jo Carroll Fallen Angels See Jos winning entry on page 26 Runners-Up (each winning a copy of Writing from Life by Lynne Hackles) Wendy Ogden Close enough to smell the Lemons Michael Springford And then I Laughed Cathy White Mooning by Moonlight Poem on a Postcard Val Booler Lute (inspired by a postcard Anne Bolyens Lute picked up when she visited Hever Castle) see page 42 Choc Lit Competition
The prize for the Choc Lit competition was for three opening chapters to be forwarded to Choc Lit for their tasting panel. After our long deliberations and much discussion over the excellent entries we would like to say Congratulations to the following writers: Christina Garbutt for So This is Love Sallie Durham for Love in Idleness Carrie Brady for Bound to the Billionaire Congratulations to all the writers who rose to the challenge of this competition. We will have more news to report on this competition in a future issue.
You still have time to enter our A Question of Writing Competition. Write an article for The New Writer on any writing-related or literary theme.
Word Count: Up to 2000 words. More details and to enter visit www.thenewwriter.com/a-question-of-writing-competition Entry fee: 5.00 per entry Closing Date: 1 February 2014
T.S. Eliots poem Four Quartets is the plot inspiration and integral to the action in Grace McCleens novel The Professor of Poetry. For this competition write a short story of no more than 2000 words inspired by a well-known poem.
Inspired by a Poem
First prize 30 and publication. Three Runners-up will receive copies of The Professor of Poetry by Grace McCleen courtesy of publisher Sceptre Entry fee: 5.00 per entry Closing Date: 1 May 2014
Free verse is an open form of poetry sometimes known as vers libre. It does not does not use consistent meter patterns or rhyme, though you can impose your own patterns if you wish. For this competition you have no restraints, you can write on any theme or topic. The only limitation we ask is that you remain within 40 lines.
Unfettered: Free Verse Competition
First prize 30 and publication. Entry fee: 5.00 per entry Closing Date: 1 May 2014
The New Writer Prose & Poetry Prizes
The 2013 New Writer Prose & Poetry Prizes closed on 30 November 2013 and since then the whole judging process has swung into action. Results will be announced in March on www.thenewwriter.com and the winning entries will be published in the Summer issue.
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In every issue of The New Writer we aim to have a number of writing opportunities for our readers. These will vary from exercises for you to try alone to articles which we would like to receive from you. There will also be competitions, showcase opportunities, reports and more. See below for an index of the opportunities in this issue
Readers Challenge page 5 Entries now being accepted until 13 March. Writing Together, Writing Alone page 6 Try the exercise for yourself and send us the results. Writers Bookshelf page 47 Send us a book review of your favourite writing guide. Writers Prompt page 49 Respond to our picture prompt. Write On: Letters page page 60 We love to hear from you. Tweetwise page 61 Follow us on Twitter and share your handy hints with fellow writers. Competitions page 62
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Hilary Johnson Quarter 95x140.indd 1
f i v e b o ok s
Alexander McCall Smith
BOOKS
was a keen reader as a boy. I read my way through a great deal of the usual childrens literature. I loved school stories. I loved books about boys who had adventures, and yearned for adventures myself. One story, though, that I knew more or less by heart at a very early age was Rudyard Kiplings Rikki Tikii Tavi. I think that is what helped me to understand the power of storytelling. Then, when I was a young teenager, I read John Buchans The Thirty-Nine Steps which taught me about plot and pace and the possibilities of the rst person narrative. In my mid-twenties I took my rst job, which was at the Queens University of Belfast. It was a rather dramatic time to be in Northern Ireland: the Troubles were at their height and bombs and occasional gunre were the order of the day. Two books stand out from that period of my life: W.H. Audens Collected Shorter Poems, and Nadine Gordimers The Conservationist. I remember the precise moment I took the Auden collection from the library shelf I had been browsing and came across it by accident. I had heard of Auden and had read one or two of his poems, but this was my rst proper discovery of his work. I had no idea at the time that this would lead to a literary enthusiasm that has lasted my lifetime. Auden is a marvellously humane poet. His breadth is quite extraordinary: he writes about limestone, about streams, about psychoanalysis, about myth, and the bugs that live on ones skin. He also writes very beautifully about the central mysteries of life, including love. Lullaby is possibly one the nest love poems in the English language; certainly it is one of the gentlest and most moving.
Alexander McCall Smith, one of the worlds most prolic and popular authors tells us about ve books that made him the writer he is today.
Auden inuenced the way I look at the world, and therefore the way I write about it. Because he concerns himself with our personal response to the world, there is an intimacy about his work that I think has affected my novels. I like to write about the small-scale events of life about the little details of everyday life that can be so important to us. I like to write about the local about how people, feel about their surroundings, their things, the people about them. A lot of that I owe, I think, to Audens inuence. Mma Ramotswe of the No 1 Ladies Detective Agency in Botswana has an approach to life that I think Auden would have liked. She likes to celebrate the ordinary features of her day-to-day life and that is certainly what Auden did with domestic life, particularly in his later poems. Nadine Gordimers novel, The Conservationist, is very beautifully written. I read that book several times and I think I learned a great deal from it about the structure of ction. There is a grave sparseness to the prose, but at the same time it conveys atmosphere beautifully. I read it at a time that I was beginning to write, and I think it inuenced me a great deal. Lastly, there is R.K. Narayan, the Indian writer admired and encouraged by Graham Greene. He wrote a whole series of novels set in an Indian town called Malgudi. I have read them all, but one that stands out for me is Swami and Friends. This, and the other novels in the series, were important for me because without having read them I am sure that I could not have written The No 1 Ladies Detective Agency series. Narayan showed me how to describe the daily life of a small town and how to make small things big. I owe him an immense debt of gratitude.
STOP PRESS We are delighted to host the return of Alexander McCall Smith to Winchester Guildhall at 7.00pm for 7.30pm on Thursday 6 February 2014. To book places see page 64.
SEE PAGE 36 TO ORDER
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What does a literary agent actually do?

I S AW A H AW K . . . . . . . . . . . . . . . . . . . . . 10 Caroline Beaton is inspired at the Pembroke College Summer School

Jacqui Lofthouse provides useful hints

Jacqui Lofthouse explores this tricky issue PITCH PERFECT

Fiona Shoop looks at non-ction proposals WAY S I N T O P U B L IC AT ION

Judith Heneghan tells us of plans for the future P OE T R Y I N F O C U S

Zoe Fairbairns provides a handy list.

Anne Caldwell On Self Publishing with a Twist

Suzanne Ruthven looks at writing for the How to market W R I T E R S G RO U P T H E R A P Y

Simon Whaley Too Scared to Go OF F S C HO OL T H AT \ DAY

A round up of writing book reviews W R I T E R S P ROM P T

Zoe Fairbairns looks at sentence structures

Simon Whaley Taking turns W R I T E ON

Fiction & poetry

Your letters and comments

A piece of micro-ction by Paula Fusco

Oxford Picture Library

New Poet in Residence at Dove Cottage

2014 January/February/March Issue 117

Poetry at the Museum

2014 | Issue 117

I love deadlines. I love the

whooshing noise they make

as they go by. Douglas Adams

Writing together, writing alone

Are you a born writer?

How did you score?

Score of 100 170

Kitsune by Simone Davy

Kitsune by Simone Davy

Kitsune by Simone Davy

Kitsune by Simone Davy

Short-Run Book Production

- quote on all orders Books!

Creating Lasting Impressions

What does a literary agent do?

Pencils and What-Not

Pencils and What-Not

Pencils and What-Not

Finding the voice

Finding the voce

Finding the voice

Winchester Writers Festival

Winner of our Life Writing Competition And then I Laughed

How to submit a non-ction book proposal

Pitch Perfect: How to submit a non-ction book proposal

Publish: verb: to make public

Self-publishing with a visual twist

Self-publishing with a visual twist

Self-publishing with a visual twist

POETRY IN FOCUS Dandelion

The Big Picture

Shakespeares Wife (FYI)

POETRY IN FOCUS October