This month I’m hoping to go to an exhibition at the V&A Museum, celebrating the 50th anniversary of the abolition of censorship on the British stage. I’ve read some fascinating articles about how far we have come in those past 50 years and, for some, how much further we still have to go. I’ll write about it next month and give you some links to others’ opinions.
One topic that comes up again and again amongst writers is when should I start editing?
It’s said that the first chapter of a novel is the one that is rewritten the most. You want to get it right, you want to hook the reader (or first, an agent), you want the opening to be the best it can be. Absolutely – it should be. But constant tinkering with the first chapter before the rest is written is almost a waste of time. Only by the end of your story, will you be in a much better position to know who your main character is and what needs to be included on that opening page – clues, signs, leitmotifs, hints of personality traits and the conflict.
When you start a project – novel or short story – you don’t really know your characters until they need to DO something, until they are put in a difficult situation, until they have to make a decision.
First chapters can be rewritten. They are not set in stone. They can be changed or, yes really, cut altogether. Sounds harsh, doesn’t it? But again, sometimes you don’t know where your story actually begins until it’s written. And then it may be far better to start in media res, rather than with description, setting, backstory and character details.
I like this quote from Raymond Obstfeld in his book Fiction first aid:
“Sometimes you have to write long in order to explore all the aspects of the story, so everything is fully developed. Don’t edit yourself too much while you’re writing. That’s what a draft is all about. But editing is where the amateur and the professional differ. The pro always looks to do what’s best for the novel, not what shows off the author’s writing ability.”
Some authors say they re-read yesterday’s writing before starting a new day’s work. It helps them pick up the flow and often highlights any obvious mistakes – typos, misspellings, factual and plot errors. Others will re-read when they finish a chapter or two, again looking only for the most obvious of edits.
Some writers I know say they can only do a proper edit by printing their work out on paper – not relying on any sort of accuracy by reading on the screen. A red pen is always useful in this case, easily seen when transferring the corrections to the computer.
Me? I was given some advice many years ago now that I have always found to be the best – the best for me that is (everyone’s different). At the end of a section, usually between 1000 and 1800 words, I read it out aloud. It’s quite amazing how this identifies obvious mistakes –repetition of a word or phrase, too many adverbs, the wrong adjective, sentences of similar length, no change of pace, no dialogue differentiation. I tend to correct them immediately before going on to write the next section. Only when I have completed the novel do I read it all through, several times: firstly, to see if the story I wanted to write is there on the page; then again, making notes as to what plot points need looking at, facts that need checking (are her eyes blue or green all the way through?); and then, copy editing, often with the aid of a computer programme, to check grammar, spelling and punctuation.
Finally, of course, there’s always the adage that we can’t edit our own writing because we only see what we think we wrote and the cliché that we can’t see the wood for the trees. Quite true. So, an extra pair of eyes is always advisable – friend, a tutor, paid editor: the choice is yours.
But get it written first. No-one can edit a blank page.
Just to update you on the Wilbur Smith prize. I was one of five writers shortlisted for the Unpublished Adventure Novel of the Year, from an entry of more than 250 from 60 different countries. I attended an amazing awards ceremony at the Stationers Hall in London where Bill Swiggs from Australia was named the winner with his novel Blood on the Wattle. I was only slightly disappointed not to win as I was astounded to have been chosen in the first place: I entered the competition for an Adventure novel never having considered that genre for my particular story. I was the only woman on the shortlist, and my protagonist was also a woman – perhaps I shall start a trend for more female adventurers!
However, through the competition, I now have a literary agent, Charlotte Colwill of BravoBlue whom I met at the awards ceremony. She’s young, very enthusiastic, and I’m sure she’ll do the very best she can for Pathway of the Gods. I also met Wilbur Smith’s agent, Kevin Conroy Scott, who will be working with Charlotte. So I feel I am in very good hands.
Several people asked me before the awards evening if I had prepared a winner’s speech. Of course I had thought about it. And because I didn’t get to give it then, I’d like to share with you something of what I was going to say – and that’s all to do with writing buddies. We all need them.
Getting down to writing can be a lonely business. We don’t want constant interruptions: emails, telephone calls, offers of cups of tea. So a huge part of being a writer is, by the very nature of the work, being on your own. I’m actually writing this blog in a fantastic cottage up in Northumberland where I’ve come for a week’s peace, quiet, castle-visiting and writing – all on my own! (The photo above is of Warkworth castle)
But interaction with people who know and can empathise with what you’re going through is absolutely vital. They are the ones who keep you going when you get Writer’s Block; they are the ones who sympathise when you get a rejection, and another, and …… They are the ones who suggest competitions to enter, agents to approach, events to go to. They are the ones who believe in your writing but also give good, honest feedback and advice.
In my case, four of us on Brunel University’s Novel Writing MA decided we would form a support group when our course finished, sending round two chapters of our book to each other every month and then meeting, over lunch, to discuss them. I really don’t think I would have finished my novel, let alone reached this stage, if it hadn’t been for them. So, a huge thank you to Claudia, Cathy and Stephanie. And to all my other writing friends who have offered their support over the years.
There, non-acceptance speech over!
At the awards evening, those who had been shortlisted were invited to read a short extract from their novels. If you’d like to read mine, please click here.
And here’s what Bill’s book Blood on the Wattle is about:
It is the year 1853 in colonial Australia and 19-year-old Toby O’Rourke’s world changed forever when his parents are brutally murdered and he and his brother Patrick are cast out of the only home they have ever known. On the goldfields of Ballarat, Toby finds a little peace for his tormented soul in the form of Annie Hocking, a woman to stand by his side through the lawlessness of the diggings and the killing ground of the Eureka Stockade. Toby is given a chance to return to the life he once knew, but to do so, he must hunt down and kill the man who murdered his parents.
Bill already has a publisher for his novel and I’m looking forward to reading it, wishing him the very best of luck.
Also this month: the extract from Pathway of the Gods; writing prompts; a book recommendation and competitions to enter.
This month I thought you might like to know how my historical/adventure novel Pathway To The Gods came into being. A question many authors are asked is: “Where do you get your ideas?” With me, it’s either from a place I’ve visited or from a picture that sparks my interest. In my case, it was this one – an Arab man holding a falcon. I think this picture came from a magazine advertisement, but I cannot, for the life of me, remember what it was advertising! I use lots of pictures in my creative writing classes, and this was one that caught my attention. It was pinned to the noticeboard above my writing desk for months before I finally got down to thinking more about a story.
I love birds of prey: I’ve been on three different courses, one at a hotel in Dumfries where it was just me, the falconer and twelve different birds of prey on each of two days! And another where we learned how to make jesses (the leather straps to tether the birds) and how to fly the birds in a public demonstration. (You can read more about that here).
So, when I started my research into falconry in Saudi Arabia, I was happy to think I was about to write a story about birds of prey in the desert. How wrong that turned out to be!
As I was researching, I came across the mention of the frankincense trail – the route that camel caravans would take from the southern coast of Arabia, up the eastern coast of the Red Sea, to Petra and from there to the Roman Empire and beyond. We all know that the three wise men brought the infant Jesus gold, frankincense and myrrh. But that was really the extent of my knowledge of frankincense at that time. At some point, I asked myself: What, exactly, is frankincense? Once I started researching that, I was totally hooked. Frankincense took over from falcons.
I found out as much as I possibly could about frankincense – the resin from trees that only grow in southern Arabia and north-eastern Africa and that was worth as much as gold in the first century. This lovely book by Juliet Highet was invaluable in my research and was responsible for my subsequent trips to Oman!
Of course, I also had to research all aspects of life at that time – social, political, religious, familial and commercial. As I did, I started building up a picture of the lives of the frankincense growers, the workers and the traders. Gradually, ideas for distinct characters came to mind and that involved more research into the morals and mores of the time.
My protagonist, initially, was a young man, the son of a frankincense trader, who was also training to be a priest. But where was the conflict? Once again my story went off onto another track, and I settled on the young priest’s sister as my main character.
Nashwa al Jamal would provide all the conflict, charisma and character I needed.
Next month, I’ll tell you how I went about actually writing the book and the ever-continuing journey once the writing was finished.
If you’d like to read the story of another of the Wilbur Smith Unpublished Novel shortlisted authors, have a look at the Book and Website page.
Also this month: more writing prompts and three new competitions to keep you motivated.
What a month we’ve had – The World Cup, Wimbledon tennis, Open golf, Tour de France cycling, record temperatures, thunder and lightning! We’ve also had road and rail chaos, more Brexit and … Cliff Richard.
I will state straightaway that I am in total agreement with the judge in the Cliff Richard case – it was an outrageous invasion of privacy and, sadly, Cliff’s name will always be tarnished by association, even though he was never arrested or charged. And I say all this as a former BBC journalist.
I recognise and understand the other side of this unfortunate incident: that if no-one is named, then others affected can’t come forward. But surely this was a case of a news organisation hounding a man because he was a celebrity when all they had was a tip-off that he was a possible suspect. A helicopter?!
If it had been a non-celebrity, would they have employed the same, expensive, means of coverage? I think not. Celebrity, in this case, paid a high price.
Yes, Cliff has won the court case and has been awarded costs and compensation. And who has to pay? The BBC or, rather, we license-payers. I shall be extremely disappointed if the BBC appeals the verdict. They should rather investigate their own standards of journalism, particularly in relation to celebrities.
OK, rant over. Onto something much nicer. I thought I’d let you know how things are going with the Wilbur Smith prize. As one of five people shortlisted for the Unpublished Adventure Novel of the Year, I have been in touch over the past six weeks with the literary consultant who has been editing my novel. He has done an extremely thorough job and has introduced to me to some grammar and punctuation rules that I have never come across before! I’ll just say that I took out the word but 833 times and put in a few extra commas. It definitely reads better now.
I’ve also received the official invitation to the awards presentation evening in September. It’s all becoming so much more real! And I really am getting on with the sequel, to date just over two-thirds of the way there.
One thing I’ve learned about writing over the past few years is that Little and Often is, for me, the best way to go. I try to stick to a specific word count for at least five days in every week. This way, I keep the flow going and can usually find the time, amidst the hurly-burly of general life. But, as well we all know, various life dramas can take over at the most unexpected of times. But even if it’s as little as one or two hundred words a day, more when I’m away on holiday, it all mounts up.
One or two of the writers in my groups confess that they only start their writing homework on the day of our next class. They will have had the theme or topic or task for at least a month and, they assure me, they HAVE been THINKING about it. But pen-to-paper or sitting down at the computer only happens a matter of hours before we are meeting. The two people in particular (they know who they are) always produce really entertaining pieces. I’m sure they appreciate that their contributions are the first draft towards a final creation. They still have to take out the buts and add a few commas 🙂
Also, this month: five of the competitions I posted last month are still valid and there are plenty of writing prompts to get you going, some as daily writing starters, others that could lead to short stories or longer.
Please do get in touch if you have any comments about my blog or any writing questions.
I know we’re having some wonderful weather here in the UK at the moment but I’m not talking about a holiday break; rather taking a break from writing. I’m sure you already appreciate how important it is to incorporate regular breaks into your writing routine. Too much sitting at a computer is bad for your body. And too much time constantly working on one particular writing project can affect your creativity. But there’s one particular writing break that I want to address this month: the break you should have when you’ve finished the first draft of your novel (or, indeed, short story, essay or article).
You’ve been working for months, perhaps years, writing your novel. You know your characters like your own family, all their personality traits, nuances, habits. You’re as familiar with all the settings of your book as you are with your own home surroundings. You’ve typed the final paragraph, sat back with an immense sigh of relief, and then you realise you’ve got to go back to the beginning to start editing. You might already have ideas in your head as to where you need to change events, conversations; where you can beef up certain characters; where you can write in more conflict
But this is the point at which you need to STOP. Really STOP.
DON’T start fiddling
DON’T turn to page 56 where you remember you had a problem
DON’T start correcting your punctuation.
TAKE A BREAK!
At this point, your brain is still in writing mode – the left side is the more dominant: that’s the creative side. You need to give that side a break and later, probably much later, let the right side of the brain, the analytical side, take over to do all the, well, analysing: the corrections, the punctuation and spelling, identifying holes in the plot. If your left brain is still involved, then emotions will still be at work. And although we want those in the actual prose, we need to be as non-judgmental and clear-thinking as we can when we start editin
Stephen King, who has sold more than 350 million books, has very definite views on this particular juncture in the life of a novel.
“When you write a book, you spend day after day scanning and identifying the trees. When you’re done, you have to step back and look at the forest.”
He says a manuscript (for a novel) should take a season (three months) to write. Then, he says, he puts a physical copy of it in a drawer and forgets about it for at least six weeks.
How long should a break be? No-one can tell you. That’s up to you and if you have one, your deadline. I recently looked at a novel I finished last year while on holiday. I knew I had to do some historical research before letting anyone else see it. In the meantime, I had other writing projects to get on with. So I really did leave that novel alone for at least six months. When I re-read it, I was pleased to see that the characters developed as I had planned and the pace ebbed and flowed in the right places. I was also quite surprised to read sections that I couldn’t actually remember writing. And, yes, my own writing produced some emotion in me – the writer! But switching to my right brain, I could see, far more clearly than before, where the plot sagged, characters who weren’t even necessary, others who needed more personality, plus, of course, spelling and punctuation mistakes.
So my advice to fellow writers is always take a break when you’ve completed the first draft of a particular writing project. Don’t think of the break as wasted time. The break itself will rejuvenate you and at least half your brain gets a rest!
(For those of you who’ve been asking about the photos, this one above is of the village of Taqah on the south-eastern coast of Oman, the region where my novel Pathway to the Gods is set.)
Also this month: writing prompts, six competitions, two book recommendations and two fascinating blogs – one about why it’s good to enter competitions and the other – about graveyards!
I hope you don’t mind if I share some really good news with you, fellow writers.
I’ve been shortlisted for an international novel-writing competition.
I had recently decided that I would dedicate the rest of this year in researching and then self-publishing my historical novel, having done the rounds of agents over the past few years. Then, when I had forgotten ever entering, I’m informed I’m in the last five of the Wilbur Smith Adventure Writing Prize – in the section for the best unpublished manuscript by a debut author.
I was asked not to divulge the news until the official announcement was made on May 30th so I had a few days when I was walking around with a big grin, longing to tell all my writing friends.
Part of the prize for getting this far is feedback and support over the next three months from a literary agent. And towards the end of September, I’m invited to a prize-giving evening in London where the winner will be announced and will receive a travel grant for researching their next novel. The organization running the competition – the Wilbur and Niso Smith Foundation – hope that the finalists will all find agent representation.
Oh, I’ve resisted exclamation marks long enough!
So that’s my summer sorted: developing my novel and finishing the sequel.
If you’d like to read more about the competition and the five finalists, here’s the link.
I started this first novel a while ago but when I had written around 6000 words, I stopped. I decided I needed help as this was THE novel I wanted to write. So I applied for and gained a place on Brunel University’s Creative Writing MA: The Novel and for two years, I lived, breathed and slept writing. I made some good writing friends and, since finishing our MAs, we have shared the highs and lows of completing our novels, critiquing each other’s work, searching for agents and entering competitions.
I believe we’ve all found it hard keeping motivated at times. One rejection can put you back weeks if not months. Silence from literary agents is even harder. Then there’s the question of whether to pay for more help: critiquing services abound, so too competitions which offer feedback for an additional fee. Workshops, conferences, writing groups and writing buddies: all can offer opinions and advice.
The trouble is, everyone makes different suggestions: one agent loved all my characters, another thought they sounded too similar; some readers liked the changes in Point of View, others didn’t. One agent liked my writing and asked me to write a YA novel – I had to explain I’m a bit beyond that age group. All too often, the responses were merely negative and of no practical use: not for us; I don’t feel passionately enough; not our thing; not right for us.
At times like these, writing friends really help, especially if you know they are giving you their genuine opinions and not just Aunt Pattie’s “It’s wonderful, dear.” Of course, in the end, it’s always up to YOU to judge each person’s opinion, advice, feedback, and critique.
I only have one rule in writing – whenever you get good news, CELEBRATE. A good critique, applause at a writing group, a magazine acceptance, long and short-listed in competitions, even a nice rejection letter. They are all markers on your writing path. Don’t gloss over them – CELEBRATE them.
Also this month: writing prompts, competitions and a tip you’ve heard before, but it always bears repeating.