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 WELCOME
CONTENTS
64 WRITERS’ NEWS
Your essential monthly roundup of competitions, paying markets,
opportunities to get into print and publishing industry news

INTERVIEWS AND PROFILES

14 Star interview: Alan Garner The revered, Booker-listed author casts a 08
14
spell with words
24 My path to publication: Rebecca Netley How the gothic novelist
persisted in her publishing dreams
Dear Writers
32 Shelf life: Greg Mosse The five books that helped transform him into a writer
The first thing you’ll notice about this
39 Writers’ circles Writing groups share their interests and activities
letter is that there’s a change of photo.
40 Subscriber news WM subscribers’ share their publishing success stories
Jonathan Telfer, at the helm of Writing
57 New author profile: Neil Alexander The debut author’s determination
Magazine for so many years, wrote his
to get published last editor’s letter last month, before
81 My writing day: Helen Fields The barrister turned crime novelist moving on to new directions.
Since the day I arrived at WM 12
CREATIVE WRITING years ago, Jonathan was a constant, Tina Jackson
20 First five pages: Tracey Lien The former journalist’s debut thriller inspiring, supportive presence, an Content Editor
30 Beginners: Is it you I’m looking for? Think about what you want to write eagle-eyed editor, and someone
34 Under the microscope The beginning of a reader’s manuscript consistently passionate about issues affecting writers on
42 Writing for children: Home time! Stories for home-educated children every level. On a personal level I’d like to thank him from
46 Fiction focus: Find the real you How to write authentically the bottom of my heart for being such an exceptional
48 Masterclass: Orange isn’t the only colour Using dilemmas effectively colleague and friend. He’ll be much missed, and I know
50 Fantastic realms: A climate for growth Eco-fiction and the rise of cli-fi you’ll join me in wishing him the absolute best.
Jonathan’s main concern as editor was always for the
WRITING LIFE readers, and this carries through to the whole Writers’ team.
10 Self publishing: Self-publishing success How to navigate the self- We’re there to support, advise and inspire you. We’ll be
publishing process bringing you the same world-class content in print and online,
12 Digital marketing: The best and worst of BookTok What the online helping you to improve as writers, and excited to hear about
platform can do for you as a writer your success stories. This issue we’re excited to open your
22 Writing life: Love your library more Where to keep warm and write horizons to write the planet’s future with eco-fiction, and our
58 The business of writing: Season’s greetings Writing for the greetings star interview is revered, Booker-listed Alan Garner.
card market So keep in touch. Let us know how you get on. Happy
82 Under the covers: Occupational health hazard Writers’ brain fog writing, and good luck!

ASK THE EXPERTS BESTSELL ING

HELPING YOU
BECOME A BETTE
R WRITER

G MAGAZINE

8 Ask a literary consultant: Tech talk Using digital writing programmes

Never miss
WRITIN

9 From the other side of the desk: United, not divided Shouldn’t writers
look for what we’ve got in common? Creative cli-fi
60 Research tips: Newspapers The possibilites of newspaper archives
Write the plane
t’s future with
eco-fiction

WIN
£117,416
IN WRITING
an issue of
Writing
61 Behind the tape Get the details right in your crime fiction
VE
HOW TO ACHIE G
PRIZES
SELF PUBLISHIN
SUCCESS
Channel your authe
ntic STAR INTERVIEW
best
self to write your Alan Garner

POETRY
behind
explains the stories

Magazine
ed
Turn a dilemma
his Booker-shortlist
Treacle Walker
into a great story

BookTok
Boo kTok
52 Poetry winners: Stars come out Poems inspired by Shelley
12>
£5.25

TikTok
How to make 9 770964 916297
s
work for writer
WM reader
to ideas to try success stories

54 Poetry workshop: Crossing the generation gap A poem with equal

opportunities right now
get published

appeal to children and adults

SUBSCRIBE NOW see p18
56 Poetry launch: Filter your favourites WM’s Open Poetry Competition
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COMPETITIONS AND EXERCISES
27 Short story competition launch GET THE WM DIGITAL EDITION
28 Short story winner Direct to your device
36 Writing exercises: Get the write idea Creative writing exercises and prompts
38 Writers’ circles: Best feet first Dance-related writing group exercises ORDER A COPY DIRECT, with free postage
44 Free-range writing: Memory tests Explore living with dementia in these https://writ.rs/wmissues
writing exercises
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REGULARS at http://writ.rs/signupnow
4 Miscellany
6 Letters
GET THE WRITER’S APP
69 Going to market
75 Novel ideas
For daily prompts and opportunities
79 Travel writing know-how http://writ.rs/writersapp
DECEMBER 2022 3
 MISCELLANY

The world of writing

Protecting legacies, abusing authors, inking errors and punishing reviews –
traversing the highs and lows of the wide world of writing

DARK LIGHT SHINING

WM’s favourite bearded magus Alan
Moore delivered a savage take-down of
the entire US superhero comics industry
in What We Know About Thunderman,
the story at the heart of his recent
story fiction collection, Illuminations.
Although ‘short’, in this case, is relative
–What We Know About Thunderman
is a novel-length pulp tale sandwiched
between some actual short stories.
Moore’s history as a glorious
subversive who upended the
conventions of graphic novels from
the inside with Watchmen lends a ring
of insider truth to the jaw-dropping
bizarro weirdness of What We Know
About Thunderman. In it, Moore, who
has gone on record that he is ‘done with
comics’, reveals a seamy underside to
the creation of American superheros
that depends on an addictive ‘insane
alternative reality’ that dehumanises
consumers and content creators alike,
and has parallels with the rise of right-
wing populism in the US. Post-truth
alternative reality? Blurring the lines
between fiction and reality? Pulp-
narratives vs established facts? Creating
a superhero fantasy that triumphs over
incovenient reality? One character
watching the Capitol riots where Trump
fanatics sought to keep the former
President in power points out that when
Trump was elected, the six top-grossing
US films were superhero movies. Mr
Moore is shining a very dark light into a
comics culture he has more insight into
than most. Illuminating stuff, indeed.

LIVED EXPERIENCE
Art imitating life imitating art? Tom Hanks, one of the world’s
CC BY 2.0 John Bauld

best-known screen stars, is to release his first novel next year

and guess what it’s about? The clue might just be in the title,
The Making of Another Motion Picture Masterpiece. Said to be a
‘wildly ambitious’ novel about the making of a film inspired by
a comic book.
‘Every character in the book does something I’ve experienced
while making a movie,’ Hanks told People. ‘Even the foolish
moments are some kind of stunt I’ve pulled or mistake I’ve
survived.’
Well, they do say you should write what you know. And there is the theory that first
novels are very often, in some way, autobiographical.
The Making of Another Motion Picture Masterpiece isn’t Hanks’ first foray into fiction.
In 2017 he published a collection of short stories, Uncommon Type, using his collection
of vintage typewriters as a common thread.

4 DECEMBER 2022 www.writers-online.co.uk

 MISCELLANY

THE JOKE’S WORTH WAITING

ON US FOR

It’s all a bit bleak in the wide world beyond the blacked-
out windows of WM Towers, so we’ve been trawling
the dark recesses of the tinterweb for light relief. So
for those of us who like jokes of the what’s yellow and
dangerous variety (answer, shark-infested custard), here
are some puerile larfs about writers:
• What did the writer say when he glued himself to his
book? That’s my story and I’m sticking to it.
• I should write a book about procrastination.
But I’m a terrible writer so I probably won’t.
• What do you call a well-slept, well fed writer?
Content writer.
• What do you call an immaterial fantasy writer?
A non-fongible Tolkien
• What dinosaur is a writer’s best friend?
Thesaurus
I’m here every Wednesday, after the meat raffle.
Boom-boom.
Last but oh-so-not-least, let’s share the love for literary
late bloomers. 80-year old debut author Jane Campbell’s
short story collection, Cat Brushing, has recently been
published by riverrun. ‘“Cat Brushing” was the first story
I’d ever tried to write. And I wrote that when I was 77,’
she told Slate. It was published in the London Review of
Books, and on the back of that, Jane got an agent who
advised her to write more stories about old women. Jane
rolled up her sleeves in no uncertain terms, and got on
with it. ‘I wanted to present old women that weren’t
like... stereotypes but were fully formed human beings.
You know, sometimes they kill themselves. Sometimes
they fall in love,’ Sometimes they kill someone else.
Sometimes they have passions, and they make mistakes,
and they do ghastly things, and they do wonderful
things. But they’re not saints. They’re hard to overlook,
I hope.’ Just like their author. Hats off, Jane.

PLANE-SPOTTING
CC BY-SA 3.0 Danielebaj

Is there a particular place that affected downstairs... and our post

who you became as a writer? For Italian upstairs that was like a tree
novelist and poet Andrea Banjani, house, a world we created
one house in particular was formative. above the clouds.
Writing in Domus, Andrea recalls the ‘It was perhaps the most
weekends spent in a house near Turin important house I’ve ever
airport where he sat upstairs, with a friend, in an attic stayed in,’ he continues.
watching the planes. ‘I especially remember that world ‘The only one where writing and not knowing how to live
split in two,’ he writes. ‘The kitchen and two bedrooms didn’t come into conflict but gave a right of citizenship.’

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www.writers-online.co.uk DECEMBER 2022 5

LETTERS

S TA R L E T T E R
DIVINE INTERVENTION
tion’ feature with
When reading the ‘My path to publica
mentioned the stars
Sunyi Dean (WM Aug) I noticed she
el. Seeing her
aligning, post-Covid, with her third nov
words evoked similar feelings in me.
8 convinced I
Having dropped out of university in 201
and been laughed
was developing early-onset dementia –
ic – before finally
out of a GP’s appointment, pre-pandem
I felt it was a very
being diagnosed with ADHD in 2022, WHERE TO FOCUS?
ple struggle with
positive experience to see that other peo I have been a subscriber to Writing Magazine for
such similar
the same aspects of writing that I do, for several months. I really find the features throughout
y varied for all
reasons. Neurodiversity is so fascinatingl the magazine insightful, give great tips and make
encouraged
involved. The article, although brief, has me feel inspired to write. One thing I do struggle
vou sly) signed
me to do two things. Firstly, I have (ner with though, is how to fit in all of the writing
have discovered
myself up to go back to university and outlets I want to try without feeling overwhelmed
Secondly, I have
that I am able to complete my degree. or stretching myself too much. For example, I enjoy
in with but I am
began writing again. Short stories to beg entering writing competitions, writing letters to
es that I am hoping
currently sitting with four finished piec magazines, doing my writing course, writing non-
k in progress.
will be competition-worthy, and one wor fiction features, working on a book of poems and
less scrambled,
Interestingly, my brain feels significantly working on a number of short fiction stories. I find
s now that I have
and I seem to have a better ability to focu it difficult to devote enough time to all of these areas
nk you.
returned to a positive, creative outlet. Tha and wondered if I should narrow down the areas or
CARRIE CAIRNS
Aberdeen have a structure in place?
SUE CAWTE
s a copy of the
The star letter each month earn Ilford, Essex
2, courtesy
Writers’ & Artists’ Yearboo 202
k
WM writers, what would be your
of Bloomsbury.
best advice for Sue? – Ed

ZAP-TASTIC
I would like to congratulate Maria Joannou on the best writing
advice I’ve read in some time (Idea-zapping, WM, Oct).
Her advice for coping with distractions and finding flow, from
the perspective of a writer with ADHD, was refreshing and
resonated strongly with me. From writing scenes out of order,
to working on several projects at once and switching when the
inspiration takes me, to allowing myself to daydream, I felt this
was advice I could really use.
I have no ADHD diagnosis myself but have learned through
trial and error that many of these techniques work for me –
although I’ve always felt a little like I was ‘breaking the rules’.
Maria’s article was honest and an invigorating change from other
writing on the subject.
I’ve highlighted several more tips from this piece and look forward
to trying them out. Thank you Maria, your article was a real joy.
SARAH BASS
Poole, Dorset
I read Maria Joannou’s article, Idea-zapping, with
interest. Having worked as an engineer for many years,
it was instinctive to plan in detail – you have to dig the
foundation before you can pour the concrete – when I
started on novels; it seemed essential to plan and have
targets and deadlines. Lately, however, I have found it
fun to butterfly and Maria’s article reminded me of two
things: first, bowls. These days I see newcomers being
told how to hold a bowl and how to stand; my coach
said, ‘Put your bowl next to that wee white one. It’s not
how you get there, but the result.’ Second, there was
Mark Twain. He wrote that if he got stuck with a story,
he put it into a pile with several others. When curiosity
pushed him, he’d look through the pile and often
thought, I know how that ends, and got on with it.
D. G. DALTON
Faringdon, Oxon

6 DECEMBER 2022 www.writers-online.co.uk

 FEEL-GOOD STORY
After having written a very short story recently,
simply for my own entertainment, I was left feeling
in good spirits.
Whether the story is good, bad or somewhere
in between, or, even if it remains shelved without
anyone else ever seeing it, I would still be content.
For me, it was what the actual process of writing
had provided. But, why was I feeling this way when
the writing wasn’t always straightforward? Is this
something a person who is still quite new to the art
form feels?
I came to realise that, in writing the story, an
outlet resulted by providing an intrinsic need to
find expression at that time. Also, I gained a sense
of certainty from the activity itself where I could
customise the direction the story was taking.
Enabling a feeling of having this sway over the
story seemed to have opened up an empowering
space from writing.
In trying to put a name to what came about, the
best I can do is therapeutic.
MICHAEL WILSON
Newcastle
FOLK MEMORY
‘Hang on a sec’, I thought when reading your
feature Once upon a time in the Miscellany section
of October’s WM. Folklore, Myths and Legends of
Britain – don’t I have a copy of that? So, I went to
my bookshelf and indeed I do – a long ago Christmas
present from my now deceased stepfather. The
‘eagerly sought-after, rare-as-hens-teeth’ description in
the feature had me looking online at the price such
copies were fetching. What? Could I really sell my
book for £750? In reality, probably not. Mine is well
thumbed and somewhat battered and besides, I don’t
want to part with it as it reminds me of the lovely
man who gave it to me all those years ago. But now
I have another reason to smile when I see it on the
bookcase. And I fully intend to buy a copy of The
Watkins Book of English Folktales to sit alongside it.
KIM GRAVELL
Llanidloes, Powys
Write to: Letters to the editor, Writing Magazine,
Warners Group Publications plc, 5th Floor, 31-
32 Park Row, Leeds LS1 5JD; email: letters@
writersnews.co.uk. (Include your name and
address when emailing letters. Ensure all letters,
a maximum of 250 words, are exclusive to Writing
Magazine. Letters may be edited.)
When referring to previous articles/letters, please
state month of publication and page number.
EXCELLING AT FINDING TREASURE
Flicking through old copies of Writing Magazine reminded me just
what a treasure trove I have sitting unused in boxes and drawers
around the house. Wouldn’t it be great, I thought, if there was a
way of easily finding again that amazing article on creating a fantasy
world, or that specific piece of advice from Behind the Tape?
My answer was to create a spreadsheet, indexing all the articles
and advice from 2022, so I can locate them again. It’s a laborious
job, but well worth the effort to keep track of this fantastic writing
resource. Once 2022 is complete I will make a start on 2021.
TERRY LOWELL
Barnsley, South Yorkshire
NO CONTEST!
I was really pleased to receive the Writing Competitions 2022-23
supplement with October’s Writing Magazine and left it out on
the kitchen table to dip into over the next few days, highlighter
pen in hand. However, my plans almost came to a dramatic end
when my husband knocked over a glass of water which covered the
supplement and magazine. I grabbed both and began shaking off
the excess water, checking that the pages were not going to stick
together. It was only when I looked at the table that I realised I’d
paid no attention to my mobile phone which was now afloat.
Thankfully no real harm was done, but it did make me smile to
think I’d prioritised the supplement over my far more expensive
phone. So, a huge thank you to all at Writing
Magazine for putting together another excellent
PRESENTS...
competitions’ supplement. I really like the smaller
format and the thinner, less glossy pages (if a little
wrinkly after their soaking). I plan to protect
WIN!
£1.6M my supplement from future damage by storing
IN PR IZ
it inside my writer’s notebook which, hopefully,
900 CO
ES
TO EN MP S
TE R
will mean I’ll be checking it on a regular basis
and submitting more stories and poems to
2022-23
competitions over the next year.
AMANDA GRANT
Stowmarket, Suffolk
WHO’S COUNTING?
When reading Writing Magazine I sometimes feel a little low
reading all the useful articles and great stories but never really get
to the stage of writing ‘The End’ on any of my own.
Having a few projects started but none finished I wonder if it
will ever happen, will I ever complete one and always think I am
too old anyway.
But in the October issue two articles caught my eye and gave
me hope. Elizabeth Ducie on Five Quick Questions and author
profile Jane Parkes.
Both, like myself, had serious health scares that they managed
to overcome and produce published works.
At 64 it has shown me it can be done and, as they say, age is
just a number.
GRAHAM COWLEY
Sutton Coldfield
www.writers-online.co.uk DECEMBER 2022 7
 A S K A L I T E R A RY C O N S U LTA N T
Tech talk
Cornerstones editor Sarah Rouse runs through her top tips for using digital writing
programmes, from tracking changes, to the time-saving ‘find and replace’ command
ince agencies by and large only accept electronic
submissions, most writers use word-processing software
(Microsoft Word, Google Documents, Scrivener, to
name a few) to author their manuscripts. However, these
programmes can be daunting and difficult to navigate,
particularly for first-time users. We’re here to demystify the process
of writing digitally, and to give you our best tech tips and tricks!
An ode to Track Changes
Track Changes is a function of Microsoft Word that, when
enabled, helps you keep track of edits to a document, with
changes that can be accepted or rejected at a later time. If
you’re working in Word, you should find Track Changes
under Tracking in the Review panel. Once you toggle on
Track Changes, you can essentially redline your work. Deleted
words or paragraphs will appear as struck-through, insertions
will appear in red, and you can then go through the suggested
changes in the sidebar to accept/reject as you see fit.
If you don’t want to make any changes, but wish to query
something in the manuscript, or leave a comment, you can find
‘New Comment’ under the pane. Similar to Track Changes,
you can Resolve or Delete comments, or use them to form a
conversational thread with whomever you share the MS.
Google Documents
To use the same function on Google Docs, toggle the blue pen at
the far right of the toolbar and click ‘Suggesting – Edits become
suggestions’. For commenting, use the comment box in the toolbar
(shortcut: ctrl + alt + M for Windows; command + opt + M for
Macs). Google Docs combines commenting and editing/suggesting
functions, so you can comment on suggestions directly.
• Tip: If you are collaborating on an edit, do check who has
access via the Share option at the top right of the page. If you
have enabled Suggesting, those with access may end up getting
email notifications for every edit, so consider removing access
until you’re ready to share!
Fast formatting
There are a few quick formatting tips that can make a world of
difference to the readability of your manuscript. Firstly, make
sure your font is legible, ideally size 12 in Times New Roman/
Arial. Check the Layout tab on Word to ensure your margins
are normal – don’t submit a typeset A5-style book to agents;
this can look amateurish. You’ll want to double-space your work
using the appropriate line spacing tool in the Home menu.
You can easily indent your work by using the Tab key (often
above the caps lock key on your keyboard, to the left of the
Q). Leave the first line of any chapter or section as normal, and
then indent the rest (once you’ve indented one line, both Word
and Google Docs should start to indent automatically as you
press Enter), and make sure dialogue is presented with new lines
for different speakers. Alternatively, to automate things further,
you can highlight the text, right click, and go to ‘Paragraph’,
and set the indentation as ‘Special - first line’ to 1.27cm.
8 DECEMBER 2022 www.writers-online.co.uk
Find and replace
Find and replace (shortcut: ctrl + H (for Windows); command
+ shift + H (for Macs)) can be a very helpful tool. You can
use it, for example, to perform a search and mass replace for a
character name you’d like to change, to save you from altering the
manuscript manually. Some of our editors use the Find tool to
check how often a writer uses clichéd terms or phrases. You might
also use it to change from double speech marks to single speech
marks, if you’ve accidentally written the whole manuscript with
standard US formatting conventions. The list goes on!
• Tip: Be wary of using mass replace – you’ll need to enter
the phrase exactly as it appears in your manuscript, ie if you’re
changing ‘his’ to ‘hers’, be sure to also include the space before
and after, otherwise you’ll end up changing ‘this’ to ‘thers’ too!
Dealing with distractions
If you’re struggling with the great distraction that is The
Internet, consider entering Focus Mode on Word – you’ll find
this at the bottom of the window, next to the zoom slider.
Saving the best ‘til last
Don’t forget to switch on spell check (also under Review) and
save your work frequently. If you’re using Google Docs, you don’t
need to worry about this, as your writing will save automatically.
If you have any further queries about the technological side of
writing, don’t hesitate to get in touch with Writing Magazine and
we’ll answer your question in a future issue!
CORNERSTONES
LITERARY CONSULTANCY
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www.cornerstones.co.uk
 From the
OTHE R SIDE
OF THE DESK
O
ne of the most depressing
aspects of the Salman
Rushdie stabbing is the way
that it so quickly became
folded into our ongoing obsession
with the so-called culture wars. It is
extraordinary and saddening that when
writers as august as Philip Pullman,
Antony Horowitz and Ian McEwan talk
about cultures of fear, self-censorship and
death threats, they are not talking about
the ravings of fascistic theocratic nutjobs,
but their colleagues in the publishing
business, other writers, readers. People
who love books.
Just to be clear, I don’t think that there
are many writers who post death threats
on Twitter – if any – but the objects of
fear are not some clearly defined ‘other’
but people who just a few years ago would
have simply been assumed to be in ‘our’
camp. There is no longer any ‘our’.
This is in part because
intersectionalism has come along and,
with some justification, splintered
the comforting myths of a certain
kind of liberal consensus. And as any
intersectionalist will have already noted,
it is noticeable that the voices I quote
decrying this hostile cultural climate
are old white men: male, pale and stale.
People whose critique is, according to
the theory, rooted in their ‘privilege’. In
other words they are not talking about
anything real, they are talking about
how the cultural assumptions they were
once able to take for granted, cultural
assumptions which treated them very
kindly, but which did not treat minority
voices with anything like the same
kindness, are no longer so widely held.
And as a white, public school-educated
male myself that has been a chastening
set of thoughts to have to parse. It’s
required a lot of hard thinking and self-
reflection, because aspects of the critique
United, not divided
As writers, shouldn’t we look for
what we’ve got in common,
and not just at what divides us,
asks Piers Blofeld
have got real validity, real power. It’s also
emphatically the world we do live in
now – so I knew I needed to get with
the program!
But, like so many theories, what is
a powerful method of analysis and
debate on campus and in seminar rooms
begins to break down and show its
fault lines when confronted by reality.
All radical ideologies have to negotiate
the difference between analysing power
structures which one is outside of and
what happens when the success of that
analysis means that its proponents start
to get their own hands on the levers of
power – ie the shift from the theoretical
to the practical.
One of the consequences of that
for intersectionality is a widespread
perception that as an ideology it does
seem to increasingly foster intolerance.
While that is often disputed by its
adherents, I’d suggest it should come
as no surprise. Intersectionality makes
us all nodes scattered on a graph. It
intrinsically divides us, it does not
bring us together. That is coded into
its structure and one of the reasons
why it has so enthusiastically been
adopted by corporate marketing
departments. Any politics which
divides rather than unites must
struggle to be called progressive in
the end. Just as any ideology which
is beloved by corporate marketeers
should also be regarded with suspicion.
That divisiveness is also shown in
its language, in particular in the idea
of privilege, which is so central to its
analysis of the world we live in. White
privilege and the admonitory warning
to ‘check your privilege’ are key aspects
of the rhetoric of this movement and
they have been hugely effective means of
silencing some and turning the volume
up for others. As I say, in many cases,
www.writers-online.co.uk
laudably so. But, for the reasons explored
above, that is not a static process and
as intersectional progressivism becomes
more powerful – and it has become
very powerful – what was once a tool of
liberation is in danger of becoming a tool
of oppression.
Maybe I have watched too many
prison movies, but privileges for me
smack of things that can be taken
away. Things over and above what one
might ordinarily expect. And yet these
privileges – to have a voice, to be heard,
to be treated with dignity and respect are
not privileges – they are rights. In other
words they are not things which divide
us but which unite us.
So, yes, as a public school-educated
white male, a literary agent with a
column in a magazine to boot, I should
be deeply conscious of how lucky I am
that I have a voice, that I get to be a
gatekeeper and I do need to be mindful
of the degree to which I assume these
things are shared by other people. But
that should not make me or anyone
else diffident or shy about the fact that
rights are not things anyone should
have to ask for. On the contrary they
are things which we must all assert,
because there really are powerful people
out there who would like to take them
away. It is they who are the enemy, not
the people on either side of us who may
or may not be sufficiently ideologically
pure or engaged.
Lastly, I would like to say that I
also do feel profoundly lucky to work
in a profession where I am forced to
challenge assumptions about myself and
the world I live in. I love the feeling
of not being allowed to settle into my
comfort zone. While there may be more
important reasons for valuing debate,
that is surely an aspect of it not to be
overlooked. It is simply good for us!
DECEMBER 2022 9
SELF PUBLISHING

Self-publishing
success Navigate the self-publishing process with
expert and up-to-date advice from John
Sailing of the Writers’ Guild of Great
Britain, who explains why the trade union
has launched a free guide to self-publishing

ndependent authors are a growing
breed but there are perilous pitfalls
as well as plenty of opportunities
they increasingly have to navigate.
Independent authors are
changing the face of publishing with
figures suggesting they now make up
around a third of ebook sales in the largest
English-language markets. According
to recent statistics, there are more than
750,000 self-published books in the UK
and the last five years saw a 68% growth
in self-published ebooks.
While this offers unparalleled
opportunities for authors, there are
also many pitfalls along the way when
it comes to writers protecting their
intellectual property rights and potential
revenues. According to the recent Is it
a steal? report from WGGB and the
Society of Authors, which examined the
practices of hybrid/vanity publishers,
94% of writers who had paid to have
their book published lost money, typically
in the thousands, with many authors
experiencing aggressive marketing tactics,
manipulative sales approaches, unclear
contracts, and publishing processes and
services that fell far short of expectations
and value.
As a caseworker for the Writers’ Guild
of Great Britain, I routinely see the fall-
out of this, in my work providing legal
advice and support to our members.
Indeed, over the past few years, the
number of authors asking for help with
their self-publishing contracts has risen
exponentially. Fortunately, as a trade
union with over 60 years’ experience in
the industry, we are able to help prevent
our members from falling into the online
traps laid by disreputable companies,
while at the same time ensuring they are
armed with the knowledge they need to
help them thrive and not just survive.
Because it’s not all bad news. The past
two decades have seen a seismic move
away from traditional book publishing,
driven by a change in reading habits and
the rise and reach of the internet. Genres
and disciplines have melded and merged,
the route to getting a book published has
been transformed and authors can now
get in print (or virtual print) by the click
of the button. Self-published authors can
also earn up to 70% of the royalties from
their books.
This democratisation of publishing is a
good thing, and we want to help potential
self-publishing authors capitalise on it. We
know though from our members that it’s
not just problem publishing companies
that throw up difficulties – the process
itself can seem unnecessarily complex,
confusing and intimidating. This is
why we have decided to launch a free,
easy-to-understand online guide to self-
publishing. You can download the full
guide at www.writersguild.org.uk/self-
publishing-guide and I’ve also rounded
up some key highlights below.
Getting off the starting blocks
By choosing to go down the self-
publishing route, you have already
jumped one hurdle! You don’t have
to navigate the process of making a
submission to a traditional publisher, or
indeed find an agent, if you choose not to.
The very first decision you have to
make is to decide whether to manage
the self-publishing process yourself
(generally the cheapest option), or
hire a company to do it for you. And
to separate the reputable companies
offering self-publishing packages out
from the predatory publishers – which
should be avoided at all costs. The latter
fall under the category of hybrid, paid-
for, vanity or contributory publishers.
They might not refer to themselves
in this way but you can spot them if
you look carefully. They will usually
insist you assign rights in your book
(this should never be the case), the fees
they charge are usually much, much
higher than those offered by a genuine
self-publishing company, and you are
also very unlikely to ever see a return
on your investment. You can find out
more about what we call the Wild
West of self-publishing in our recent
joint report with Society of Authors’
Is it a steal? which looks at this subject
in more depth, and was the result of
a large survey of authors in the UK
(download it at www.writersguild.org.
uk/wggb_campaigns/is-it-a-steal).
Always get your contracts vetted
We advise all writers to get legal advice
before you sign any writing contract,
whether it is for a self-publishing service
provider, or not. If you are a member of

10 DECEMBER 2022 www.writers-online.co.uk

WGGB you can access our free, online
contract vetting service, which is available
to all full and candidate members, and if
necessary we will refer your case to our
experienced lawyers.
Eight steps on the road to
self-publishing
Once you have written your manuscript,
these are the steps you need to follow.
1. Get your book edited
2. Think of a great title
3. Have the inside formatted, designed
and compiled
4. Get the cover designed
5. Have the whole book proofread
6. Get the book made
7. Register your book
8. Market and sell your book
There is further, detailed information
on each of these in our free self-
publishing guide.
Ebook or print?
When it comes to formatting and
producing your book, this will be a
different process depending on whether
you choose to create a print or an ebook.
The great advantage of an ebook is lower
upfront costs as you won’t need to pay
for the printing of physical copies of your
work, or indeed storage or transportation,
which can affect your profit margins.
Many ebook platforms are also free to
use and you can use more than one
of them. Some of these savings can be
passed onto your potential customer,
making your book more attractive in a
highly competitive market, which means
you can also expect a higher cut of
royalties too! There are numerous ebook
platforms out there, but some of the most
well-known are Amazon Kindle Direct
Publishing, Google Play Books and Kobo
Books, all of whom provide detailed
guides on how to use their services.
Editing, proofreading and design
You will need to decide which of these
tasks you have the capacity and skills
to do yourself and which you are going
to pay a professional to do for you (our
self-publishing guide has lots of useful
pointers and details of organisations who
can help, including a guide to costs).
Make it a striking cover
The importance of a striking cover
design cannot be overstated in selling
your book and in an ideal world, before
hiring a designer, you would be in a
position to give them the manuscript
to read and to tell them who the book
is aimed at – what is their age, gender,
occupation, interests and location? What
is the message of your book and who
are the important characters or plot
elements you would like represented in
the graphics? It is also helpful for them
to see a blurb that communicates the
spirit of the book, the setting of the
book and things you definitely don’t
want the designer to include – including
colour schemes and images.
Registering your book
An ISBN (International Standard
Book Number) is a 13-digit code to
identify your book and its specific
edition. You can purchase ISBNs in
the UK through the Nielsen ISBN
store online. You are not required by
law to have an ISBN for your book,
but they are used by publishers, sellers
and libraries to order, stock and list
your book and are extremely useful.
You will need a new ISBN for any
updated edition of your work.
Protect your copyright
In the UK, your work is automatically
protected under UK copyright law. It is
good practice to use the copyright symbol
(©) on your work, alongside the year it
was created, to actively display your intent
to claim copyright protection.
Marketing your work
You’ll need to decide whether to hire
a PR professional or go it alone. Your
strategy may include:
• Book launch event
• Running your own website and/or
blog, making a podcast
• Strong and frequent social media
presence
• Outreach to radio stations, websites
and TV shows
• Outreach to reviewing platforms via
email
• Maximising distribution channels
www.writers-online.co.uk
• Using Amazon’s promotional tools
and programmes on offer (if you are
published with them)
• Ensuring your book is on Goodreads
• Use Google Alerts, a service that
allows users to monitor new content
matching their search terms
• Metadata – ensuring all of your
online content is described accurately
and specifically in title tags, copy,
descriptions, images and other media,
making it more discoverable to
searchers
• Price promotions to accelerate sales
• Local reading/signing events
Receiving royalties
The way you receive royalties will depend
on the platform you are using to sell your
book. Remember, royalties do not equal
profits: the profits from your book will be
what is left of the royalties after expenses
have been paid off. And we’re going to
say it again … always, always get your
contracts vetted at the outset! This way
you can make sure you will be properly
remunerated for your work in future.
And finally … our top
self-publishing tips
• Create a strong overall strategy before
you dive into the process – work out
your costs
• Shop around and compare prices for
different freelancer services, printers
and publishing platforms
• Find a great title and unique selling
point (USP)
• Know your audience to create a
detailed marketing strategy
• Develop a ‘business’ and ‘can do’
mindset to match your creative one
John Sailing is a caseworker for the
Writers’ Guild of Great Britain, the
trade union for authors, screenwriters,
playwrights, audio drama writers, and
videogames writers in the UK. WGGB
represents writers at all stages of their
careers – from emerging/student writers
who don’t have professional credits
to established writers with agents.
Membership starts at £9 per month and
you can join online at
www.writersguild.org.uk
DECEMBER 2022 11
D I G I TA L M A R K E T I N G
The best and worst of
t has been twenty months
since I became a content
creator on TikTok, or, more
specifically, BookTok. For
those unfamiliar, BookTok is a
niche little corner on a video-sharing
social media app. Cute, right? It has
been twenty months since my life
did not revolve around creating/
editing/posting content, accepting/
reading/reviewing advanced reader
copies, and interacting/fielding
notifications in my comment section.
Twenty months since BookTok
launched me into the book industry,
first as a reviewer, then as a self-
published author, and soon, as a
traditionally published one. Such is
the power and influence of BookTok.
What’s the BookTok effect?
BookTok took the print industry
by storm in 2020 and is largely
responsible for the increased profit
margins since. The BookTok hashtag
was used 12.6 billion times in 2021
and has firmly instated itself as a
virtual community for readers. I
think it’s fair to say that the platform
has influenced change in publishing;
changes in marketing strategy,
changes in author acquisitions. The
industry places value in a potential
author’s reach. It isn’t difficult to see
the opportunity in it, a writer with a
ready-made audience. For better or
worse, BookTok and platforms like
it have turned heads globally. I could
blow smoke in every direction, so I’ll
do that first. I’ll get to the grim side in
due course.
12 DECEMBER 2022
BookTok
BookTok
BookTok reviewer turned author Stacey McEwan outlines
what the online platform can do for you as a writer – and
the pitfalls to be aware of
Finding a community in BookTok
As a reader who likes to obnoxiously
squawk about good books, you can
imagine the haven BookTok seemed
to me. My husband really isn’t much
of a reader. There’s only so much
commentary about dudes in armour
he can tolerate before I become, in
his words, ‘unbearable’, and in my
words, ‘analytical.’ BookTok was an
excellent outlet for that. I started off
by joining in on popular discourse and
dissecting books. I tapped into the
romance community’s love for tropes.
I made videos about the ‘recipe for
new adult romance’ and made fun
of fictional men archetypes. I found
hilarious book quotes and shared those,
too. I got my husband on board and
started comparing him to the likes of
Mr. Darcy and Captain Wentworth.
Eventually, I incorporated book reviews
and was delighted to find that people
enjoyed those too. The rate at which
my following grew was shocking to me.
I’m still not completely convinced that
my Australian accent isn’t responsible.
And so, the free books started
coming in. Indie authors were reaching
out to send me a book or two, and
then small publishing companies. I
ended up on Penguin Random House’s
and Entangled Teen’s mailing list and
I’d have PR boxes waiting on my
doorstep every other week. I thought
I’d hit the jackpot. Who knew being
an idiot and exploiting my husband
could lead to this? Without really
thinking it through I was suddenly
working for these companies in a
sense; creating content to market
www.writers-online.co.uk
books that I felt connected to. I still
feel incredibly honoured to create
fun content about the books I love,
and for the people I’ve met online. I
have these amazing friends who exist
in a world separate to real life. How
appealing that is, to someone who
seeks escapism.
BookTok bitchfest
Six months in, and I’d had a hateful
comment or two. Mostly men telling
me that I talked too much, that I
was psychotic. Boring slander. Easy
to ignore. Every woman who has
walked among men has heard the
same. Otherwise, looking through my
comment section at that time, with
100k followers, there was a litany of
funny banter and support. My videos
are comedic in nature. Its easy to avoid
hate when there’s nothing political or
polarising in your content. But I do
remember my first negative comment
from a woman, and I won’t pretend it
didn’t pinch:
‘I don’t like you, or your content.
But I’m excited for this book.’
Mostly innocuous. More a statement
of fact, really. I reasoned that this
person was obviously severely tactless.
I ignored it.
There have been more since.
‘Her pupils are huge. Are you on
drugs right now?’
‘Why do your nostrils look like that?’
‘I feel sorry for your husband. Tell
him to call me.’
Just a few pleasant examples. I ignored
these as well. I became adept at blocking
and deleting one-handed while I made

dinner. I reasoned that these
people were likely not part
of the BookTok community.
They were outsiders who’d
come across my content.
The good – and the bad
– of BookTok
I’ve learned that I was right.
Here’s the thing about a
platform like TikTok – it has
an astounding amount of
potential to catapult you out
of obscurity. It’s one of the
only social media sites whose
algorithm doesn’t necessarily
favour the already ‘known’ creators. A
person with zero followers can post a
video that goes viral within a few hours.
The opportunity in that is astounding,
if a little terrifying. It certainly isn’t a
marketing tool to be ignored. In fact,
if you’re a writer looking to promote
yourself, I’ll be the first person to
recommend BookTok and all the ways
it can benefit you. BookTok is where
my agent, Amy Collins, first found me.
It’s how publishers began to reach out
to speak with me. What I want you
to understand, however, is that while
a large audience can bring you great
things, it inevitably brings a dose of the
bad. Here’s where we get to the gritty…
At a point of no discerning marks,
BookTok swelled and overflowed with
content creators and followers. The
community seems to have tripled, and
the bigger it gets, the wider the scope
of opinion becomes. Now, that’s not to
say that differing opinions have ruined
BookTok. Absolutely not. It’s the
human tendency for intolerance that
has made BookTok a little wobbly. It
seems each week brings a new drama.
Suddenly, personal preference has
been substituted for herd-thinking. A
book’s worth must be agreed upon by
the masses and difference in opinion
quickly devolves into TikTok anarchy.
While the community is mostly filled
with rational, kind folk, it also has a
portion of those who seem to find a
thrill in the downfall of others. The
trend of ‘these are the books I hate’
has become a popular content choice.
‘Cancel culture’ – or the witch hunt
(as most refer to it), is rife. Each day
brings a new commentor (usually of
the male persuasion), with a hot take:
‘Sick of fantasy being diluted by
these bullsh*t romance plots no one
asked for.’
‘This is why women get so f***ed in
the head when they date, because they
think this [romance] is real.’
I could make a list of this particular
brand of musings: romance readers
are hyper-sexual, young-adult is for
children only, authors are problematic
if they don’t include XYZ, books
should include trigger warnings,
books shouldn’t include trigger
warnings, the enemies-to-lovers trope
romanticises toxic relationships,
authors must be transparent about
their privilege… and on it goes.
There’s always a new line in the sand,
a new divider between readers. I don’t
mean to say that these conversations
aren’t valid; most are. But reading
these comment sections won’t usually
show healthy discourse. It’s more
like middle-grade name-calling. For
aspiring authors trying to navigate
through BookTok, you can imagine
how daunted one might become.
Promoting positivity
Let me leave you with what I believe is
my most valuable nugget of BookTok
wisdom. With 320+ thousand followers
on the platform, I’ve learnt how
important it is to produce positive
content. I’ve learnt that I have the
www.writers-online.co.uk
D I G I TA L M A R K E T I N G
potential to give people a
laugh, and there’s a tonne
of value in that. It’s brought
me opportunities I’d
never dared to venture – a
publishing deal, publicity
opportunities, fantastic
colleagues and the privilege
of time. Time to write.
Time to make content.
Every so often I find myself
wondering if I shouldn’t
use this platform to speak
to what I believe is right,
but I eventually dilute that
thought to one sure thing –
making people laugh is right. Making
my page safe is right. Being tolerant
and accepting is right. If nothing else, I
know I can do that much.
If you’re an author, or even a creator
looking to dive into BookTok, there
is something I want you to remember.
When you put your content out into
the world, it has the potential to reach
millions of people, and every piece of
it reflects on who you are as person.
Just like the books we write, we should
aim to add goodness into the world,
and not detract from it. Make fun of
yourself, but not others. Speak with
respect on things you don’t prefer.
Never forget that authors and reviewers
are people, with people-thoughts and
people-feelings. Words are powerful,
they can harm and heal in equal
measure. Opinions and preference
are one’s own, and they don’t need to
subscribe to yours, but you are owed
respect, and you owe it to others. And
lastly, perhaps most essentially, set
your boundaries. No one deserves to
be harassed. Learn to block and delete
without a trace of guilt for doing so.
I’m thankful to find myself
among readers who show tolerance,
acceptance, and objectivity. I’m
honoured that I get to produce stories
for those people. I’m grateful that the
BookTok platform has elevated me
to a position where I can publish my
debut novel, but I’m hoping that I can
see BookTok turn a corner, back to a
place where we can share more books
and less drama.
DECEMBER 2022 13
S TA R I N T E R V I E W
M OR E T H A N
ET S TH E EY E
ME
Alan Garner, the oldest person to be shortlisted for the Booker Prize,
tells Tina Jackson about distilling language, stories and place to cast a spell with words
very year in book-land, the buzz around the
Booker Prize is fierce. 2022 is no exception,
but it’s fair to say that there’s one particular
author whose presence – first on the longlist,
and then, even more excitingly, the shortlist –
has provoked particular interest. Alan Garner, the only
British author to make this year’s shortlist, is also the
oldest writer ever to be shortlisted, and with one of the
shortest books. ‘I was happy that it had connected with
other minds,’ says Alan, modestly. The Booker Prize
winner’s announcement, on 17 October just as WM goes
to press, is the same day as his 88th birthday.
Alan’s Booker-listed novel, Treacle Walker, does
more than just ‘connect’ with other minds. It’s that
rarest of things – a truly extraordinary book where the
tiny, 15,000 wordcount delivers a mind-expanding
immersion in parallel narrative. Spare, allusive, playful,
terrifying, illuminating, deploying language like a
magician, Treacle Walker is a magisterial piece of writing
from a master of the craft.
Treacle Walker is the latest novel from a writer Philip
Pullman has described as ‘the most important writer
of fantasy since Tolkien, and in many respects better
than Tolkien, because better and more truthful.’ His
much-loved children’s novels include his debut, 1960’s
The Weirdstone of Brisingamen and 1967’s The Owl
14 DECEMBER 2022 www.writers-online.co.uk
David Heke
Service. Books for adults include the four-novella series
The Stone Book quartet, detailing days in the lives of
four generations of his family. His works are steeped in
folklore and legend, influenced by the oral storytelling
traditions of his rural, working class upbringing near
Alderley Edge in Cheshire. Alan, who spent much
of his early childhood absent from school because of
serious childhood illnesses, was the first member of his
family of skilled manual craftsmen to get an extensive
formal education.
Alan came to writing after going to Oxford to study
the Classics. He abandoned his degree and turned to
writing fiction. ‘I realised that my intended future as an
academic Classicist would be wrong for me, and that
instead of analysing literature and language I should try
to practise it,’ he says. He moved back to Alderley Edge
and began writing. His first novel, 1960’s The Weirdstone
of Brisingamen, was set there, partly based on local
legends and folklore.
All his writing is part of his lifelong exploration of the
landscape – physical and metaphysical – of the place
where he still lives, and its deep past. ‘It’s fundamental,’
Alan says. ‘Landscape and place determine the colour
and texture of the story. And everything grows from my
feeling for the land.’
The character Treacle Walker, who gives his name to

“Don’t rush. Let the writing come at
its own pace. Do the research; then
soak, and wait.”
the story, is a rag-and-bone man who visits a solitary boy,
Joseph Coppack. They exchange odd gifts – an empty
jar of medicine and a donkey stone for a pair of pyjamas
and a lamb’s shoulder bone – and the story has its roots
in an anecdote about a real-life itinerant.
‘A friend mentioned an anecdote about a tramp named
Walter Helliwell, known as “Treacle Walker”, who lived
on the moors above Huddersfield in the first half of
the 20th century,’ says Alan. ‘He claimed to be able to
heal all things but jealousy. “Treacle” was originally a
medieval word for medicine, especially a cure against
venom, and the question of how an uneducated Walter
Helliwell should know its ancient meaning told me that
I was on to something profound. But what that would
be, I had no idea. I knew simply that it would lead me
to a place that was interesting and strange. One of the
fundamental rules of research and discovery is “Pursue
the anomaly”. That is, if a thing is clearly there yet
doesn’t make sense, what is it telling you?’
Alan didn’t force anything, but left the story to distil
in its own time. ‘I let it gestate over six years without
interference, other than reading, reading, reading, and
filling notebooks with observations and questions and
resulting thoughts,’ he says.
The process worked its own magic. ‘Then, as always
happens with me, I “heard” the first line, wrote it down
without asking why it was there or what it meant. Then
the next line appeared; then the next, as if I were taking
dictation; and so on, until it paused and I had to wait
for it to continue. There was no point in trying to force
it. Nothing would happen until it was ready. Nothing
would stop it once it came. After two years of this, the
last sentence ran off my pen and the book was finished
and was ready to be edited.’
Understanding that the work will evolve is, he says, the
most important lesson he’s learned over a lifelong career
in writing. ‘Don’t rush. Let the writing come at its own
pace. Do the research; then soak and wait.’
Alan acknowledges that there’s more to the alchemical
process of writing than the rational mind can account
for. ‘It’s a mysterious experience, but not a mystical one,’
he says. ‘My explanation of the process is that, in the
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S TA R I N T E R V I E W
writing of fiction, the conscious mind is an excellent
critic but original ideas are the work of the unconscious.
This applies acutely to fiction that I call “visionary” as
opposed to “observational”. One is not inherently better
than the other, but there is a significant difference.
“Observational” fiction is concerned with the human
condition, our loves, laughter and woes. Jane Austen
is an example. “Visionary” fiction has to do with the
intangible world of imagery and metaphor. William
Golding, for instance. It has more the quality of dream
than of analytical thought, and is therefore harder to
achieve, since it rises from deep within the psyche and is
unbiddable. As was Treacle Walker.’
Having brought his otherworldly rag-and-bone man
to life, creating riotous imaginative upheaval in Joseph’s
life, Alan says it’s for the reader to then determine the
significance of the elements in the book – such as the
objects he gives to Joseph. ‘That’s for the reader to
decide. Each reading, if the book’s any good, should be a
creative act between the eye and the text. It’s important
for the author to “show” not “tell”, to present an open
hand not a pointing finger. And there will be things in
that creative act that the author did not see but are valid
contributions from the reader’s experience.’
The real and the imaginative worlds of Treacle
Walker overlap seamlessly. ‘They intermingle without
borders,’ says Alan. But although the book is profoundly
otherworldly, it’s based not in magic, but in myth.
‘Myth is the distillation of reality,’ explains Alan.
‘It is not invention. Magic is the manipulation of the
supernatural for worldly ends. There is none of that
DECEMBER 2022 15
S TA R I N T E R V I E W

in the book.’ The mythos of Treacle Walker involves speakers, especially rural, is Germanic throughout:
a folkloric creature called Thin Amren, who inhabits “daft”, “shent”, “mither”, “skrike” and is all the clearer
the bogland below the farm where Joseph lives, and for it. Whereas Thin Amren uses an Irish form of
riotously includes the characters from Joseph’s comic Germanic and Romance and archaisms: “flustication”,
collection, who display superpowers that enable them to “clanjander”, “mirligoes”, “glims”.’
move from page to centre stage – another imaginative In the midst of all this strange, arcane language, the
disruption for the reader as well as Joseph. Why comics? words used by the authorial voice are clear and direct.
‘British comics are Joseph’s only reading matter,’ says ‘The narration uses short, standard words, because it is
Alan. ‘For me, they are a joyful iconoclastic medium essential to be simple when expressing complex thought,’
that sabotages says Alan.
authority.’ Some of the words
Thresholds are “Creativity is the bringing together are ones that have
everywhere in a book
that works as a portal
of existing themes that have not echoes from his own
upbringing, such as
to realms of hidden been seen to connect before. Treacle Walker’s final
knowledge and wild
flights of imagination. Creative artists, in all fields, absorb words, to his pony:
‘Kosko gry! Kosko
‘Thresholds are what is around them... and through gry! Muk man kistur
boundaries; and tute naw!’ ‘They are
boundaries, both a kind of alchemy they make the only published
physical and temporal,
are where space and
something new.” examples I know of
The Horseman’s Word,
time hold no sway,’ says which gives power over
Alan. ‘A parish boundary is in neither one parish nor the other. horses,’ says Alan. ‘My grandfather, who was a smith and
Midnight is neither yesterday, today nor tomorrow.’ farrier, had it, but didn’t tell me what it was.’
This glorious, shape-shifting territory is the setting for It’s clear Alan cares deeply for the words he puts in his
perhaps the most striking element in Treacle Walker – characters’ mouths, and for the importance of preserving
its inventive use of language. Filled with vanishing and their meaning. ‘All this matters for its own sake, but
colloquial words, the text opens up another imaginative severely now, when people, especially young adults,
dimension that’s all about the possibilities of language. seem unable to speak without inserting “like” and “you
‘English has the largest vocabulary of any language; know” followed by an emotional interjection and a facial
more than 750,000 words and growing; three-quarters distortion, as substitutes for linguistic sense.’
of a million fragments of Babel,’ says Alan. ‘This The most important aspects of storytelling, for Alan,
richness is the result of being able to draw on both are economy and clarity. ‘Arranging the fewest words,
Germanic and Romance vocabularies.’ He’s eagle-eyed in the right order, as simply as possible, to tell a story,
about the etymology of language and what effect that however intricate that story might be.’
has on usage. ‘Germanic words tend to be short, direct, The stories that spark his imagination are: ‘Everything
honest, close, warm; words such as “love”, “come”, “go”. and everywhere. Creativity is the bringing together of
Romance words tend to keep emotion at a distance; existing themes that have not been seen to connect
“amity”, “propinquity”, “evacuate”. They also conceal, before. Creative artists, in all fields, absorb what is
especially in American military jargon, where “kill” around them. They plunder literature, landscape, ideas,
becomes “terminate with extreme prejudice”, and conversations, people, lives; and through a kind of
“death” is “zero survivability situation”.’ alchemy they make something new.’
Within the book, these linguistic ideas move from the Alan’s books have been categorised for ‘children’ and
theoretical to expressing the essence of its characters. ‘adults’ but the boundaries are porous for him here, too.
‘Treacle Walker hides emotion behind Romance words ‘There are no differences that I’m aware of in my own
until the very end, when Joe asks him what he truly work, since I don’t write “for” any group, and who reads
wants. Treacle Walker answers “Oblivion”, a Romance what I’ve written is beyond my control,’ he says.
word, then drops his defence and says, “Home”, Alan writes, at least initially, in longhand. ‘Writing is
Germanic. Joe, as with many regional and dialect a kinetic activity, where the movement of the arm and

16 DECEMBER 2022 www.writers-online.co.uk

wrist and fingers determines the choice of word,’ he
says. ‘A computer is an excellent safety device against
loss, and a fine editor, but first the words must be felt
and written. A keyboard has a sterile touch, no rhythm
and a lifeless sound.’
Alan is a writer whose exploration of unearthly and
imaginative realms goes hand in hand with a rigorous
belief in learning your craft.
‘It’s imperative to have a full grasp and understanding
of grammar and syntax,’ he says. ‘If you don’t know the
rules, you can’t bend or break them creatively, or be
consistent. Buy a copy of Fowler’s Modern English Usage,
(currently by R. W. Burchfield), and use it. Have a good
dictionary, and use it. The best single volume work is
Collins English Dictionary; but also collect dictionaries
of different ages so that you may avoid anachronisms
and understand how language is always changing. And
Roget’s Thesaurus will make you more aware of the
subtlety of words.’
His other advice to writers is, also, about improving
through doing. ‘Take to heart Samuel Beckett’s “Ever
www.writers-online.co.uk
tried. Ever failed. No matter. Try again. Fail again.
Fail better”,’ says Alan. He also advises keeping your
treasures close to your chest, and not being easily
swayed by other people’s opinions. ‘Don’t tell another
writer a good story. It will be stolen from you,’ Alan
says. ‘And beware of advice – including mine. If you
have anything to say that’s worth hearing, let it be your
own voice on the page not a porridge of other opinions.’
Alan doesn’t yet know, he says, what his next project
is going to be. ‘And if I did, I wouldn’t say, because
to speak about the fairy gold is to turn it to dead
leaves in the pocket,’ he says. ‘It’s much easier to talk
about writing than to do it. And it’s a futile activity. A
playwright I knew, who lived in a Pennine village, had a
success and moved to London. He came back within the
year, having, he said, talked four plays to death.’
Alan does though, know which of his books is his
favourite. ‘The next one!’ he says. ‘I hope I haven’t
sounded discouraging. When it flows, writing is one of
the heights of experience. And when it doesn’t, it’s being
the best teacher.’
DECEMBER 2022 17
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TRACEY
LIEN
The former Los Angeles Times journalist walks us through how she mustered her
reporting skills to get started on her debut literary thriller, All That’s Left Unsaid
hen I set out to
write my novel, All
That’s Left Unsaid,
I felt paralysed
by fear. I wasn’t
scared that my novel might be poorly
received, even though that was a real
possibility. I wasn’t worried that it might
not find a publisher or even lose sleep
over the chances that the manuscript
itself might come up short. No, those
worries would come later. My greatest
fear in those early days of writing my
debut novel was that I wouldn’t have
enough material or momentum to
complete even a first chapter.
You see, I had a rough idea for All
That’s Left Unsaid. I knew I wanted to
tell a story about an Asian Australian
woman who tracks down the witnesses
to her brother’s grisly murder,
determined to find out what happened
and why they each claim to have seen
nothing. I knew I wanted it to read
like a murder mystery. And I knew I
wanted to use the story to challenge
the myth of the model minority—that
oppressive idea that if racial minorities
just behave well enough and don’t rock
the boat, they’ll earn an equal place
20 DECEMBER 2022
in society. But despite enrolling in
graduate school for creative writing,
no one ever taught me how to start
writing a novel. No one had instructed
me on collecting the pieces of my
imagination to begin the longest thing
I might ever write.
And so, I turned to the profession
I knew best – journalism. Below are
some of the reporting skills I drew
on that helped me craft my story’s
opening, figure out my novel’s setting,
make the world feel rich and lived in
from the first page, and lay down word
after word so that I could cross the
threshold of the first chapter.
Research
When I began working on All That’s
Left Unsaid, I adhered to the advice of
‘write what you know’. But here’s the
thing: ‘write what you know’ assumes
that knowledge is finite when it can,
in fact, be expanded. So, here’s what
I knew going into the first pages of
the novel: I was setting the story in
Cabramatta, Australia, in the year
1996; Cabramatta experienced a heroin
epidemic during this time and the
suburb faced high levels of crime and
www.writers-online.co.uk
TAP
HERE
To read an
extract from
All That’s
Left Unsaid
gang violence. Although I grew up in
Cabramatta, my own memories were
limited by my age (I was only a child at
the time) and experience. Here’s what I
didn’t know: everything else.
Instead of feeling my way through
the dark, I conducted research. I
dredged up news clippings from the
time. I read ethnographic studies
from researchers who were on the
ground in Cabramatta throughout the
1990s. I interviewed people who lived
and worked and had gang and drug
affiliations in Cabramatta. And the
more I learned, the more it unlocked
my imagination. For example, I read
about the horrifying practice of the
‘home invasion’– how gang members
would break into people’s homes and
steal their family photo albums before
threatening to target extended family
members (which they could identify
from the photos) unless a ransom was
paid. I also read about a knife fight
that broke out at a community fashion
show—when the police showed up, all
two hundred guests claimed that they
didn’t witness a thing because they
were in the bathroom. The venue only
had two toilet stalls.

While the novel doesn’t ultimately
make gang violence its core focus, when
you read the opening chapters of All
That’s Left Unsaid, you’ll see the way these
details made it into the story, the way
they colour the setting, and the way they
gave me a starting point from which to
spin up a bigger, deeper narrative.
Discipline
To overcome the intimidation of
starting a novel (60,000-plus words!
Where would I even begin? What if
I didn’t know where it would go?!),
I relied on a process that had gotten
me through lengthy feature articles:
writing a little bit every day. I set a low
bar for myself – I simply had to clear
three hundred words. It didn’t matter
if they weren’t any good. The goal
was to make writing a habit, which
would make it less daunting, which
would give me the confidence to keep
going. My journalism career taught
me that discipline is more reliable than
inspiration, so instead of waiting for
the perfect opening line to strike, I just
started writing with the knowledge that
I would come back to revise. Word by
word, I wrote my way to a messy and
imperfect first draft.
The hook
Many reporters, myself included, have
agonised over the first line of their
articles, with good reason: readers
can be impatient, unforgiving, and
quick to abandon the story in front of
them. And so, the first line is crucial
in hooking the reader. It should pique
curiosity, draw readers in, and suggest
that there’s a rewarding story about to
be unfurled. I took this lesson from
journalism to heart—the opening line
to All That’s Left Unsaid could serve
as the lede for a feature article: The
circumstances of Denny Tran’s death were
so violent that most people in Cabramatta
were too spooked to attend his funeral.
Making the details count
When I was a newbie journalist and
was told to ‘show, don’t tell’, I thought
this meant that I should go to great
lengths to describe a scene, place,
person, or situation. My early articles
were bogged down with unnecessary
description. I later understood that
‘show, don’t tell’ had more to do with
plucking out key details that could
do a lot of heavy lifting. For example,
in a profile about a man preparing to
graduate from the college where he
also worked as a janitor, journalist Tom
Hallman Jr. described how this man
drove his rusted car to the graduation
ceremony and, as he passed the college’s
security gates, a smiling guard slapped
the top of his car twice and gave him a
thumbs up. With this detail, Hallman
Jr. didn’t have to explain that the janitor
had known the security guard for a long
time, that they were on good terms,
and that the guard was proud of his
friend for making it to graduation. The
few details said it all.
Likewise, in the opening pages of All
That’s Left Unsaid, I wanted to establish
that this story followed a working-
class immigrant household, that the
murdered brother was an accomplished
over-achiever, and that our protagonist
– Ky Tran – is an incredibly anxious
young woman who is uncomfortable
around figures of authority. In lieu of
explicitly stating the aforementioned
information, I let the details do the
talking: the family’s class was made
apparent through the fact that they
lived in a narrow townhouse; the
brother’s academic achievements were
illustrated through the framed awards
that hung on the family’s walls; and
whenever Ky spoke with her high
school teachers, she could feel the
squeak of her armpits rubbing against
each other as sweat stains bloomed
through her shirt. I relied on these
types of details to immerse readers in
the world of Cabramatta, in the Tran
family’s household, from the first page.
Finding the sweet spot
As a business reporter, whenever I
worked on a story that covered concepts
that a layperson might not be familiar
with, like an initial public offering or
venture capital investment, I had to
write my article into the sweet spot
where accessibility meets credibility. In
other words, complete newcomers to
the subject should be able to understand
www.writers-online.co.uk
T H E F I R S T F I V E PA G E S
what I’m talking about, while readers
with in-depth knowledge of the topic
can still get something out of it.
When crafting the opening pages of
All That’s Left Unsaid, it was important
to me that I find a similar sweet spot
because I didn’t want to alienate readers
– neither newcomers to stories about
Vietnamese Australian families, nor
Asian Australians/Asian Americans/
Asians in Britain who might already
be deeply familiar with the culture I
was depicting. I knew that if I didn’t
explain what my characters were
thinking or feeling or contextualize how
they responded to the world around
them, the former audience might feel
confused. And I knew that if I over-
explained everything, from the meaning
of non-English words to cultural
practices, the latter might feel that the
novel wasn’t for them, that I was simply
playing tour guide to Anglo readers.
The solution? I chose to offer
explanation for any character-revealing
and character-enriching qualities, while
choosing to not explain or translate
anything that was merely cultural. For
example, in the first few pages of the
novel, we learn that Ky Tran comes
from a family of bad communicators
who are unable to directly confront the
death of a brother and son. While this
could arguably be chalked up to their
culture, it gave me an opportunity to
delve into their individual personalities
and paint a portrait of a family
grieving in its own way. Meanwhile,
anytime someone spoke in Vietnamese
or Chinese, I did not translate it.
Vietnamese dishes were not explained.
My reasoning was that a reader should
be able to infer meaning from context,
and, where context doesn’t help,
then they could stretch – like readers
around the world who often adapt
to Britishisms or Americanisms, they
could look things up or simply take it
in stride.
These journalism skills not only
helped me get started, they carried me
through an entire first draft of my novel
and several re-writes. And now that All
That’s Left Unsaid is written, printed,
and available for purchase, I’m free to
worry about everything else.
DECEMBER 2022 21
 Love your library more
As the c ost of liv ing c risis intensifies, c ounc ils are introduc ing their own ‘ warm banks’
registers. Rosalind Moody ev aluates where she’ ll be c amping out to write this winter

s you read this, are you
chilly? If you say no, I
won’t believe you. I’m
picturing you on your
sofa wearing two pairs
of socks, two jumpers, a scarf and
slippers while clasping a cuppa and a
blanket – just as I am while writing
this. The rise in the cost of living is all
we hear about in the media, and all my
parents seem to talk about, so if you
were hoping for some literary escapism
here, I apologise, as it’s also my topic
of discussion today.
Libraries have always been a refuge,
not just us bookworms and budding
writers. These comfortingly quiet,
musty book-smelling, openly inclusive
places are, crucially, safe and warm.
Sometimes, I should say, I’d find them
too warm. Well, there’s no such thing
as ‘too much heating’ these days,
apart from when we talk about global
warming, of course. I haven’t set foot
in my local library for years, but the
nostalgia of accompanying my mum
there every week as a child and teen is
ingrained into my memory, as I’m sure
it is in a lot of us. I fondly remember
the thick plastic book jacket coverings,
the grey plaid carpets, the friendly
staff behind the desk. I’d always spend
some of my pocket money renting
a VHS or DVD (it was usually Miss
Congeniality I rented time and time
again). Granted, the digital age has
changed things, but I have a special
affection and respect for a library, and
that’s not just because my grandmother
was a proud librarian.
These days I like to read a few books
at once, so the three-week deadline

22 DECEMBER 2022 www.writers-online.co.uk


to extend or return a book doesn’t
work for me – if anything, it feels
like another deadline for me to meet.
However, very soon I’ll be rethinking
quite how valuable my local library in
Colchester could be to me...
With bills at an average £2,500 per
household a year, it’s more important
than ever to weigh up our lifestyles
and where we spend our daytime, both
for the climate and our own wellbeing.
Reported in The Big Issue recently,
over 14.5 million people, including
4.3 million children, are living in
poverty in the UK. That’s according to
the social change organisation Joseph
Rowntree Foundation.
Before autumn hit, I was thinking
– foolishly, might I add – that things
could get so bad I might even choose
to go back to my office full-time, and
how big and awful of a sacrifice that
would be for me and my sofa (woe is
me). I can afford to go to a cafe or a
bookshop and spend some money in a
nice toasty environment, and I’d take
it completely for granted. I’ve even
worked from my gym’s makeshift
cafe once when I was desperate for a
change of scenery. But then, I realised
how lucky I am to have this many
choices of where to go. I can’t imagine
how difficult it is for families who
have nowhere to go but a freezing
cold home.
Thankfully, there are new ‘warm
banks’ opening across the UK, heated
public spaces advertising specifically
free of charge, no-questions-asked
entry, some even providing free family
entertainment, food and refreshments.
Plenty of spaces, such as churches,
museums and theatres, are already
opening their doors to the public, from
Cumbria to Reading, and Durham
to Kent. We saw the power of
community in the lockdowns, that
momentary two-year blip that we
seemed to have wiped from the slate
of our collective timeline like it never
happened. Now we need to power up
again, and grassroots organisations and
projects are leading the way. According
to Age UK, at least 25,000 older
people in the UK pass away from
cold-related illnesses every year, which
works out to 200 loved ones a day.
These often underfunded spaces are
the ones literally saving lives, just by
providing heat.
And libraries have always been
about so much more than books,
from the mother and baby groups
to other community initiatives such
as crafting groups, and author and
illustrator meet-and-greets. ‘They serve
hot drinks, provide a quiet spot to
learn and ponder, and discover… I’ve
made brilliant friends there too,’ local
Elizabeth tells me. ‘Our local library
even had a “warm coats” rail outside
for those in need.’ You never know,
libraries could turn into a clothes bank
or swap shop next.
I’m also impressed to see real action
during my research. Paul Drumm
of charitable social enterprise GLL,
which operates libraries in Greenwich,
said his London borough’s libraries
had prepared well, already spending
£28,000 on new seats and other
furniture in order to prepare for the
expected increase in visitors. Due
to their own rising bills, places like
Christian charity HQ New Beginnings
Reading in Berkshire, once a pub, is a
designated warm space offering free hot
drinks and soup, and is crowdfunding
£100,000 in order to meet astronomical
bills. Promising to keep its heating
on at all times, it hopes to take the
decision whether to ‘heat or eat’ off
its locals. Other creative initiatives
such as Theatre Royal Plymouth are
also opening their doors not just to
theatre-goers. Chief executive James
Mackenzie-Blackman said: ‘This
Christmas and this winter when
theatres open, if someone’s at their
own home and wants a warm space
to come then they can come to the
Theatre Royal.’
A church in Lincolnshire which
serves lunch to its community every
Wednesday and Friday has seen
rising numbers of people looking for
‘friendship, listening ears as well as
food and practical help’, according
to Reverend Dr Val Ogden. More
community/food double-ups are
available at libraries in Devon, which
will also supply leftover free food from
www.writers-online.co.uk
WRITING LIFE
local shops. Select libraries in Cardiff
are offering a free hot drink on arrival
too. Sadly, most of the smaller hubs and
havens around the country can only
be kept heated for two days a week,
prompting further discussions in local
councils. But, when they could have
just shut up shop to save their own
finances, these spaces – of which there
are far too many to applaud in this
feature – give what they can back to
their communities.
Such spaces are used not just to
combat the cold, but also loneliness;
in Manchester, law firm gunnercooke
founded The House of Books &
Friends, an indie bookshop specifically
for lonely locals. It reminds me of
Fleabag and the fictional Chatty
Wednesday anti-loneliness campaign
at her guinea pig-themed cafe. A
spokesperson from The House of
Books & Friends says: ‘We believe
that bookshops can provide a powerful
tool. Reading can connect us physically,
intellectually, emotionally, and
spiritually. When we read we are not
alone. Our focus will be to connect
all the charities we work with and,
at the heart, to develop a culture of
connection.’ I don’t think I’ve ever
come across a better reason to love
reading. Victor Hugo seemed to feel
the same when he wrote of a character
in Les Misérables: ‘He loved books,
those undemanding but faithful
friends.’ The House of Books &
Friends opens this November, with
more locations to be opened in due
course. I can’t wait to go and visit one.
As I crack on with a new book
project in the new year, I can already
visualise my nails drumming away
(as quietly as possible, of course) on
my laptop keyboard surrounded by
students, families and fellow members
of the community. Will you be seeking
out or even supplying somewhere warm
this winter? List your warm space via
the online directory warmspaces.org/
register. If you’re concerned about your
bills, go to gov.uk/helpforhouseholds.
Lastly, follow The House of
Books & Friends on Twitter via @
Books_n_friends, or on Instagram @
houseofbooksandfriends.
DECEMBER 2022 23
 M Y PAT H T O P U B L I C AT I O N
TAP
HERE
To read an
extract from
The Whistling

Bookkeeping and burnt

pizzas spurred the gothic
novelist to persist in her
publishing dreams

have been writing for most
of my life. In my younger
years, I tried a few times to
get a foot on the publishing
ladder but it led nowhere
– but as I have later learned, I had
gone about the whole process in the
wrong way by submitting directly to
publishers with an unfinished novel.
I know now that most publishers
will not accept submissions unless it
is through an agent and I needed to
finish the novel first.
‘Then came children and I found
it impossible to juggle writing and
being a mum so had to stop. However,
when my children reached their mid-
teens, I began to seriously consider
my own future and what I wanted to
do with it. I didn’t have a career but
I had done the bookkeeping for my
husband’s business, so, with a view to
earning money I began a professional
bookkeeping course and, ironically, it
was this (I hated every single minute
of it) that made me think again about
attempting to write a novel.
‘In 2014, I gave up the
bookkeeping course and started
a crime novel but after two years
I realised that unless I set aside
adequate time, I was never going to
finish and so for three months, I gave
up home-cooking, frizbeed burnt
pizzas to the family, did minimal
cleaning and neglected as many
domestic chores as I could. It was
hard (probably harder for the family
than me, to be fair) but I finished a
few days before Christmas 2016.
‘Writing ‘The End’ on Monstrous
Souls, my first full novel, was one of
the most satisfying things that I have
ever done. After editing, I sent it out
to friends and although the feedback
was positive, I knew that in terms of
industry standards my story might
still fall a long way short of being
publishable and to stand a chance of
being traditionally published, I needed
an agent, if possible.
‘So, in 2017, I bought The Writers’
& Artists’ Yearbook and did some
research but not enough. I submitted
to three agents with a submission letter
that basically said: ‘I am approaching
you with my completed novel and I
have attached a synopsis.’ The end. I
had three, very swift rejections – one
within half an hour.
‘I decided more research might be
wise. I discovered lots of information
online and then sent off three more
submissions with a considerably better
letter, receiving an immediate request
for a full manuscript which led to a
revise and re-submit. Unfortunately,
after months of revising the agency
still didn’t feel it was right. This
was a crushing moment but their
encouragement gave me confidence.
‘In the next twelve months I sent out
to nineteen further agents – receiving
interest but no representation and
I felt Monstrous Souls would never
be published, so, I began writing
another story with the aim of getting
representation.
‘I decided to switch genres – gothic
novels were in vogue so I began
the ghost story which evolved into

24 DECEMBER 2022 www.writers-online.co.uk

 Clio Cornish, publisher at
The Whistling. I also entered the came out under the name Rebecca
first chapters into competitions Kelly and I subbed The Whistling to Penguin Michael Joseph
and although I do not think agents. I received several offers of
competition success ultimately representation, including one from ‘I’ve always loved
makes a difference as to whether the Madeleine Milburn Agency, my gothic fiction, and it’s
a book is picked up, I think it can first choice. a perennial favourite
prompt an agent to take notice. ‘After editing with them, my for readers everywhere,
‘In 2019, in the midst of writing manuscript was sent out to but it’s so rare to find a
book two, I saw an advert from publishers and I waited anxiously new story that delivers
a digital-first company and gave until, after several weeks, I was on the genre while still introducing some
Monstrous Souls one more shot. offered a two-book deal from original ideas. I was struck immediately
Then in April, two lovely things Penguin Michael Joseph. Since by Rebecca’s fresh take on a classic part of
happened – one was that they then, The Whistling has had deals in the market – she’s clearly someone who
offered to publish my first novel other territories and a film option. knows and loves her genre and has honed
and also that The Whistling had I’m currently writing my next her craft. In the read, The Whistling has so
won the Exeter Novel Prize. gothic novel which is due to be much to offer fans of historical and dark
‘In March 2020 my first book published next October.’ fiction: a cracking, clever plot, fantastic
atmospheric setting and some genuinely
scary moments, all leading up to a twist
Rachel’s top tips that I truly didn’t see coming and has
• Read a lot – especially in your genre. stayed with me. From a readers’ point
• Be tenacious when it comes to submitting to agents. I know authors of view, I adored it, while as a publisher
who have acquired agents on their fiftieth attempt or more. I saw immediately where it sat in the
• Connect with other writers – Twitter is great for that. market, and felt confident that it would
• Edit brutally – with a chainsaw rather than nail scissors. The be embraced by readers and booksellers
competition is fierce. come the autumn publishing season.’

,
Unsure about grammar
r
sentences, structure o
?
dialogue in your story
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Writing Magazine’s critique services
“The comments were thoughtful, insightful Whether you have a 500-word picture book or 150,000-word saga,
and invaluable in taking my novel in a new our specialist writers will give objective, professional, feedback to
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Brian K BOOK YOUR CRITIQUE ONLINE TODAY:
https://writ.rs/critique
www.writers-online.co.uk DECEMBER 2022 25
Bo o k i n g s open 5 t h - 10th
1 s t N o v 2022 A u g u st 2023
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CONTACT US email: secretary@swanwickwritersschool.org.uk or call 01290 552248
IN CASH PRIZES & PUBLICATION

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COMPETITION
The choice is yours for this
annual competition to end the
year – any story, any style, any
genre. It’s up to you. Just make
sure it’s a winner!

Your story should be 1,500-

1,700 words. The closing date
is 15 January.

SEE P62 FOR ENTRY DETAILS,

FULL RULES AND ENTRY FORMS

With its closing date of 15 December, there’s still time to enter last month’s competition for
creative non-fiction. Prizes and length are as above. See p62 for full details.
TWIST SHORT STORY COMPETITION WINNERS

Marjorie Anne Wilkins lives in New

Zealand with her husband,
two teenage daughters and
by Anne Wilkins three cats. She is a primary
school teacher, but was previously a lawyer
specialising in family law. Anne has written
a children’s novel (currently unpublished)
and many short stories, some of which are
published in various anthologies. She enjoys
writing stories with a twist, and so this
seemed the perfect competition for her to
enter. Her love of writing is fuelled by coffee,
reading and hope.

“Hurry up Jess.”
“We’ve all done it.”
“It’s your turn.”
My turn. They were patient before,
but now they’re getting angry with me.
My friends.
“Told you she’s gone weird.”
The others mumble in agreement,
but they’re still waiting.
“Truth or dare Jess - which one?”
“Truth,” I mumble.
The three of them fall back now to
consult with each other on what truth
I shall lay bare. I overhear some of their
suggestions: How about, has she ever
kissed a human boy? No. What about,
has she ever seen a naked human? No...
When they turn back to me, they move
as one, their minds decided.
“What are you scared of?”
And they smile. Stupidly. Because
they don’t know. None of them know.
Not yet.
“I-I don’t want to do that one,” I say,
shaking my head.
“You have to. What are you scared
of?” What am I scared of? I don’t want
to answer. I don’t want to say her
name. I take a step backwards. But they
surround me.
“What are you scared of?!” they
repeat in unison, this time with anger.
“Marjorie,” I blurt out. “I’m scared
of... Marjorie.”
And I tell them....
***
I was two when Marjorie was born
and she replaced me in every way.
She had a voracious appetite for love,
and our parents fed her with so much
love that they had nothing left for
me. Their love was reserved first and
foremost for their special child, if there
were any scraps left over they would
be fed to me as an afterthought. After
Marjorie.
Gradually my photos were replaced
with those of Marjorie. My artwork
was never shown, only Marjorie’s. My
stories were never talked about, only
Marjorie’s. My parents would laugh at
Marjorie’s little endearing qualities, but
turn a blind eye to my achievements. I
was a shadow in our home, a shadow
to Marjorie who was like a little sun
burning so brightly that no-one could
see me anymore.
I tried to love her, like they told me
to. “She’s your sister now,” my parents
would say. “You must love her, like we
do.” But when I looked at her heart-
shaped face, her blonde curls, her goofy
smile, I felt only resentment. She was
an intruder – in my home. Taking too
much, consuming too much love, while
I slowly starved.
I was six when my parents told me
who I was. Why I was different. Where
I came from. They told me they’d
never thought they could have children
and that’s why they’d bought me. I
was a solution to their childlessness.
Something to replace the emptiness of
their barren nest.
They’d never expected to have
Marjorie, they’d given up all hopes of
having a real child, but then she was
their little miracle. They told me I had
to understand that, and accept that.
She was their special child. And I? I
was not. I was seven when I realised
I had the capacity to hate. I hadn’t
really known that emotion before. But
it had been building up in me from
the time that Marjorie had arrived. I
didn’t eat with my family now. I was an
embarrassment. A hasty purchase best
forgotten. Marjorie was the real child.
When visitors came my parents told
me to go to my room, be quiet. When
Marjorie had friends over I was told to
stay away, out of sight, leave Marjorie
to play with her real friends. When my
parents talked to people they didn’t
mention their other child, the one they
hid away, the one they regretted.
There was only Marjorie.
I still attended school like Marjorie.
It’s compulsory that all Animoids
receive an education; it is important
for us to mix with other children. But
however well I did, however hard I tried
to fit in, I was never one of them. I was
always an Animoid.
I would sit with the other Animoids
on the school bus, in class and at
playtime and we would look at the
human children and try to mimic their
games, and always we would wonder
what made them so different, so special.
I was eight when I heard them talking
about me in hushed whispers at the
breakfast table. I hid behind the door

28 DECEMBER 2022 www.writers-online.co.uk

and listened. Marjorie in her sweet,
wheedling voice: “She’s just odd... and
she just doesn’t do anything.”
My father, always the pragmatic one:
“She’s costing us a bit. Every year it’s
more and more with the updates.” And
my Mother, who had once called me her
little one, who had long ago told me that
she’d love me to the moon and back,
and who used to kiss me goodnight:
“Perhaps it’s best we terminate her. She’s
outlived her usefulness.”
Animoids are designed to be an
imitation of a human child. We lack
some things, the ability to cry, the ability
to feel physical pain. But I felt pain
that day. Pain inside myself. Pain I’ve
never felt before. And although my eyes
couldn’t cry, I felt something inside me
corrode away. It had been rusting for a
long time I suppose, a disused part of
me that needed to be kept alive with
love seemed to disintegrate.
Termination of an Animoid is not
a simple thing. Contact must first be
made with the Head Office, followed by
interviews with a clinical psychologist
and robotician. The process can take up
to six months. By the time of my ninth
birthday, my parents were up to stage
two of the process of my termination.
They’d completed a questionnaire
about the reasons why they wanted to
terminate their Animoid and had been
asked whether they would consider
a reboot instead. I heard my parents
talking to each other late at night: “We
just don’t need her anymore.” “We have
Marjorie now.” “Marjorie gives us all
that we need.”
My birthday that year was a sad affair.
No party. I was going to be terminated
soon so there would be no point, my
father had said, and besides a party was
costly. I was given a present though,
a pocket knife. It was strange because
I’d never asked for that. But I’d heard
Marjorie asking for one. I suppose it
would be passed down to her when I
was gone. Probably my Father’s idea, he
was always very cost-efficient.
She’d asked to play with my pocket
knife that day and I’d handed it to her.
Then she’d pulled the little knife part
out. “You’re going to go soon Jess. And
then it’ll be just me,” and she’d smiled
her little smile. My parents had said
nothing, just basked in the glow of their
little Sun.
Animoids shouldn’t be capable of
violence. We’re programmed to love our
programmed parents, no matter what
they do. They could beat us senseless but
we are still programmed to love them
beyond all else. No harm must come to
them. But I was never programmed to
love Marjorie and as I saw the little knife
in her hand that day, I felt my shadow
grow larger and fall across her Sun.
I’d never wanted that little pocket
knife, but it proved useful. I used it for
many things over the following weeks: to
scratch my name into the bark of a tree,
to chop fruit, and to make little cuts
into the branches of a tree that Marjorie
liked to climb.
One day Marjorie climbed almost to
the top of that favourite tree.
“Mum! Dad!” she yelled out, her little
arms waving about as she sat on one of
the branches that my pocket knife had
been working away at.
“Look at me! Look at me,” she called,
just before the branch snapped and the
little Sun fell to the ground.
It was my turn to smile then.
My parents had rushed to her aid as
she lay screaming. A tangled mess. A
branch sticking through her body at a
strange angle.
As an Animoid I was programmed
with first aid knowledge so that I can
save the lives of my parents. But no one
had programmed me for Marjorie.
“Stay with her Jess!” they yelled at
me. And my Mother ran to call an
ambulance, and my Father ran to the
house for a first aid kit. And it was just
me, left alone with my sister. My little
fake sister.
Marjorie was moaning. A soft sound.
Tears were falling from her little blue
eyes and I could see the tree branch had
gone right through her. It should have
punctured her lungs. There should be
blood. But there was only... wires and
white liquid latex. Like me.
“You... you’re an Animoid?” I asked in
confusion.
And she shook her little head
vehemently as if it was a foul word.
“No...” she gurgled, “I... am... better,”
and she smiled her sweet smile. Her
almost-Human smile. Better. Better than
me. A better model. One that eats like
a human, cries like a human, feels pain
like a human.
“I-I know it was you J-Jess,” she said
in little, halting sounds. “Cuts in-in the
b-branch. I-I know...”
But her accusation died away as her
circuitry shorted out.
***
I finish my story and look at my
fellow Animoids. They’re looking at me
in disbelief.
“Marjorie?” one says. “She was... so
human?”
“She can cry? Feel pain?”
“Better than us?” questions another.
And I can only nod in answer.
Our game is over. We see it in each
other’s faces. It’s the end of our existence.
The end of the Animoids. It scares not
only me, it scares us all.
Marjorie is the new model. The better
model. The one that parents can believe
is real. They walk away as they try to
process what I have told them. And I’m
left alone with the truth.
Marjorie.
She’s in for repair. My parents tell me
it will be one more week before she’ll
be fully functional again. They don’t
know about the tree, about the cuts, but
Marjorie does…
And when she comes back my brief
time as the Sun will be crudely cut short.
To be eclipsed forever by Marjorie.
SHORTLIST
The runner-up in WM’s Twist Short
Story Competition is Helen Parker,
Liverpool, whose story is published
on www.writers-online.co.uk.
Also shortlisted were: Lynda Green,
Camborne, Cornwall; Damien
McKeating, Newcastle-under-
Lyme, Staffordshire; Alexandra
Watts, Edgewater, Australia; Maria
Dean, Cote Farm, Thackley; Michael
Callaghan, Glasgow; Claire Buckle,
Southend-on-Sea, Essex; Dominic
Bell, Hull.
DECEMBER 2022 29
BEGINNERS
Is it you I’m looking for?
Who are you writing for? Adrian Magson says it’s best to think about
what you want rather than a reader you don’t know
T
here’s an odd question when it comes to being
a writer: do you write what you want to say, or
what you think others will want to read?
I used to write reports many moons ago; factual
stuff based on activities, results and observations.
These were intended for formulating future plans. If I’m
realistic, most of them lasted about 48 hours before being
filed; it was activity that counted, not acres of speculative
words. It was inevitable that some of my time was spent
thinking about the eventual readers in ‘head office’, and
whether my words might chime with what they expected of
me and maybe earn some grudging approval.
Such is the nature of trying to please everyone.
The writing part is not so different for fiction writers.
The words start out in your head, some carefully
formulated, others little more than a vague notion; putting
them together successfully is where the real writing takes
place. Then it’s down to others – editors or agents then,
hopefully, readers – to make a judgement. The difference
is, there are no ‘activity’ factors to influence them. The
story is everything.
One question I’ve been asked is how can you make your
words sound as successful as some big-name authors – the
kind strangers will like? You can’t – not unless you’ve already
written a number of books and gained a loyal following – in
which case you probably won’t be reading this article.
What you should not do is to try sounding like an
30 DECEMBER 2022 www.writers-online.co.uk
established author in your chosen genre. It won’t sound like
you and nor should it. You have your own voice and that’s
the tool you must use. Try tricks to please an unknown
audience and no-one will be entirely satisfied.
As an early writer, you won’t know this potential audience.
Truth is, you may never meet them unless they button-hole
you on social media, at a conference or in a bookshop. (Be
aware of this phenomenon – it’s when the public side of
our normally isolationist profession can hit the skids… or
flowers into full-blooded marketer who can talk easily at the
drop of a bookmark).
The point is, you can’t write intentionally for readers you
don’t know. Equally, you should perhaps pay only a little
attention to those you eventually will, as they will all have
different views on your work and where it should be going.
Put bluntly, you’re always the first one who has to be
satisfied with what you’ve created. That encompasses
everything: the scope of the book, the theme, characters, plot,
pace, dialogue and everything down to the denouement.
I started out writing short fiction for women’s magazines.
It worked for a while, with a fair number of sales over
several years, and a few fails. Call me slow, but I eventually
realised that the fails came because I was writing against
the grain; I really wanted to write crime and the magazines
wanted only relationships and romance sprinkled with
some humour and satisfying endings. The fails happened
when my themes inadvertently crossed the lines of what the
magazine wanted. But it was a great way of learning.
So, consider what you need to do to enjoy this strange job
of being a writer.
Create characters you like being with. The main ones,
certainly, have to last a long time.
If you sit down at the beginning of each writing session
actively looking forward to what happens to them, you’re
on the right track. That sense of excitement will propel you
on even when times get a bit sticky, because you will be
driven to finish their story. Finish that and you’ll want to
write another.
Become tired of your characters and it’s likely the reader
will, too. Villains and walk-ons don’t count quite so much,
but even villains should have something about them that
draws the reader’s attention, even if it’s a faint hope that they
will get their just desserts.
Settings are not quite as personal, but it helps to have a
location that fits the scope and theme of your storyline,
especially if that setting forms an important part of the
backdrop. Readers like to dig into something that lifts them
out of their everyday moments – and that includes a setting
they might recognise or can relate to.
Equally, if they’re sitting in a cold, dark, rain-filled
landscape on a December afternoon, it’s ten to one
something lighter and uplifting will draw them in rather than
more of the same rain and gloom. (My only reservation here
is for anyone writing horror or deep noir set in a dystopian
landscape; an injection of sunlight, beaches, laughter and
jollity could act as a real buzz-kill for their target readers).
Dialogue has to ‘fit’ the characters, place and period. If in
doubt, keep utterances shorter rather than long, since brevity
is more realistic. Lengthy rants (I’m thinking of the Bond-
baddy-type lectures to 007 on why he’s about to be lasered,
eaten, shot or incinerated) can allow too much wordiness
that will border on cliché.
If you write action, it should be short, sharp and as realistic
as you can make it. Too much repetition is a distraction. You
can string out a chase scene as long as you like, but it has
to move at pace, even if it gets interrupted for a couple of
chapters or more before resuming and coming to a climax.
Enjoy your writing and there’s a good chance that readers
will like what you’ve done and come back for more. As a
working writer, you really cannot ask for anything better.
TOP TIPS
• Write for you. Writing for an unknown audience is hard work.
• Be satisfied with what you create – but always look for
making improvements.
• Read what you write. If it doesn’t sound right, it probably isn’t.
• Enjoy your characters – they will be with you for a long time.

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www.writers-online.co.uk DECEMBER 2022 31

 Dystopian thriller author Greg Mosse outlines the five books that helped transform him into a writer

One Hundred Years of Solitude Collected

by Gabriel García Márquez Poems,
‘When I was twenty years old, I posed naked for the sculptors 1945-1990
at Camberwell School of Art, earning the money to move to by R S Thomas
Paris – to a tiny room in a hotel in Belleville that cost about ‘Life moved on
£3 per day. Staying motionless for the sculptors was boring, but BBC Radio
but I rigged up a bookstand and read One Hundred Years of 4 remained a
Solitude by Gabriel García Márquez. It’s a sweeping history constant, available in
of a family, then a town, then a village and then a country in Paris on long wave in those pre-
South America. People call it magical realism, as if the plot internet days. I heard a biographical
relies on supernatural events. In reality, the author “Gabito” is the magician, not show about the poet and vicar
his brilliant, distinctive extraordinary characters. R S Thomas whose search for
‘Back in 1981, I read the book in a US translation. Later, when I became an meaning in the aching poverty of
interpreter, I read a better French version and, finally, in Colombian Spanish. This his Welsh country parish became,
book has mapped a massive part of my life and provided my imagination with a through persistence, a kind of
much broader template than “mere” realism. Perhaps it contributed to granting me unconsummated love affair with
permission for setting my thriller, The Coming Darkness, in a speculative 2037.’ an absent God. (In The Coming
Darkness, spiritual succour also
seems a long way off, distant and
The Yellow Dog by Georges Simenon indifferent.)
‘Soon after arriving in Paris, I began reading the novels of ‘Most of what R S Thomas wrote
Georges Simenon, delighted to discover the clarity of his is in free verse, without formal
language. (I wasn’t bilingual back then.) I also revelled in the rhythm or patterns of rhymes, but it
mournful world he depicted and the way his detective, Maigret, very seldom seems thrown together,
had no particular insight or method. He would simply cosy up as if it could have been written as a
to his suspect and cling to him like tar on his clothes until he paragraph of prose. The poem that
found out, almost by osmosis, what he was thinking and what first caught my attention is about
he had done. trying, through kneeling and prayer,
‘Because of this, Simenon’s novels are vibrant in their depiction to catch God’s attention, there,
of locations, but never overdone or gratuitous, making you feel you are there in the upper window of heaven,
by weighing every word. And, when the hero isn’t Maigret and the “procedural” distant and unattainable. He would
element of detection is absent, Simenon leads you deep into the psyches of flawed have given up years ago, he says,
protagonists whose lives are sliding down a blade, unaware which way to jump, had he not, just once, thought that I
which side lies safety.’ detected the movement of a curtain.’

32 DECEMBER 2022 www.writers-online.co.uk


The City of Tears by Kate Mosse
‘Faith requires very little nourishment and its
strength is unbounded. That’s a fundamental
aspect of my wife Kate Mosse’s novel Labyrinth.
© Jasmine Aurora
In fact, it permeates all her work, right up to her
most recent novels set in the Wars of Religion
of the sixteenth and seventeenth centuries, The
Burning Chambers and The City of Tears.
‘I remember helping Kate by proofreading
The City of Tears, the second part set in Amsterdam where
the canals are full of dark water wept from the low grey skies.
Despite the technical attention to detail, I remember feeling the
great sweep of emotion – the loved ones lost and found – and
wondering how the black marks on the A4 pages managed to
transform themselves into tears.
‘It’s an extraordinary ability Kate has, to conjure from a
sequence of imaginary events an answering emotion in the
reader, felt almost more deeply than her character – she who
must flee or hide or race to save another loved one or family
member from the same insistent danger. I suppose, if I had
spent twenty years alongside Roger Federer, my tennis might
have improved? I hope proximity to Kate’s creative genius and
technical skill has had some kind of positive impact on what I
can achieve. Those proofreading days preceded lockdown and
starting to write my future-thriller The Coming Darkness in – I
feel conflicted in admitting it – the welcome peace and quiet of
November 2020. Of course, at the same time, so many people
lost income and purpose, health and – even – their lives. I will
forever be grateful that my family was able to hunker down and
continue working with creative purpose. Kate finished two non-
fiction books over the two coronavirus years and our son Felix
Mosse completed a brilliant low-fantasy novel, The Mistral.’
Have Mercy On Us All
by Fred Vargas
‘Meanwhile, my writing was accompanied by
reading another French-language author, a
brilliant woman known on her jackets as Fred
Vargas – a medieval historian and campaigner
when not producing intriguing and ever-longer
investigations of linked contemporary crimes.
The lives of her detectives – she has several
– are interlinked across volumes, developing a panoramic
fictional world.
‘The first Vargas I ever read was Pars vite et reviens tard,
awkwardly translated into English as Have Mercy On Us All. It
concerns the search for a killer who – apparently – uses fleas
infected with plague virus to dispatch their victims. If you’ve
never read her work, it may take a while to become absorbed
into her off-beat world, but – like they say in the Michelin
guides – she’s worth the detour. And her main protagonist’s
insistent probing method has some faint echoes in my hero,
Alexandre Lamarque, in The Coming Darkness.’
www.writers-online.co.uk
GREG MOSSE
TAP
HERE
To read an
extract from
The Coming
Darkness
‘Before the coronavirus lockdowns, I was a writer
and producer of live theatre – but those activities,
reasonably enough, were swiftly made illegal. So,
I sat quietly in my study and wrote The Coming
Darkness instead. It’s set in 2037, when everything
that troubles us today is the same “but more so”.
Environmental degradation has caused major
population movements and, in Paris, there’s an
underclass of unregistered citizens they call “Blanks”
living parallel lives. Transgenic diseases persist in
waves. Someone wants to bring it all crashing down –
the hyperconnected world – and set back the clock of
technological advance by fifty years or more. My hero
has to try and stop them.
‘I have an alarm set on my phone for six-thirty
each morning. Now and then, if I’ve finished a major
section of work the previous day, I turn it off, but
that’s the time I get up on nine days out of ten. I
do all my creative writing – novels, plays, songs – in
an Ikea Poang bentwood chair with my laptop on
a tray on my lap. (It used to be on a cushion but it
got too hot.) Usually, I stop around nine-thirty to
use the rowing machine and then stretch for twenty-
five minutes. (We are very fortunate to have space in
our house for some gym equipment.) Often, I have
to break off to record a voice note for an idea that
comes to me while exercising.
‘I wrote an MA Creative Writing for the University
of Sussex. In parallel, I taught the same content at an
open access course at Southbank Centre in London.
A young woman who can’t have been more than
seventeen once raised her hand and asked: “So, what
you’re saying is everything has to be a thing?” “That’s
right,” I replied. “In the web of cause and effect in
fiction, everything has to be a thing.” And that’s why
writing The Coming Darkness was, simultaneously,
hugely enjoyable and incredibly hard work.
‘My friend Lesley Thomson – a brilliant novelist
of contemporary and time-slip crime – taught with
me on my MA. We often discussed what we wanted
the students to learn from a particular exercise or
workshop. The thing we kept coming back to was
this: “Don’t take notes from people who don’t like
what you’ve written. If they can’t bring themselves to
enjoy it, their critique has no relevance.”’
DECEMBER 2022 33
 UNDER THE MICROSCOPE

Your writing critiqued

Philip Simons writes in his bedroom, where he can escape the James McCreet
noise of life. He is stumbling clumsily through life. The story he applies his forensic
is currently writing is partly inspired by unhealthy relationships criticism to the
that he has found himself in, though the story is fiction and only beginning of a
inspired by real life. It is not a memoir. reader’s manuscript

The house stood with an unremarkable, dull presence.1
It was one more semi-detached house on a street of semi-
detached houses,2 and it was solidly reliable enough,3
serving its intended purpose as shelter.4 It protected the
inhabitants from discomforts and dangers.5 The street
upon which it stood6 was straight, like a great, dark-grey
pencil line drawn by some god7 and lined with houses.8
And the house just stood,9 in the dark and still night of
this quiet street.10
James was watching television and drinking pint-sized
cans of beer11 from a four-pack he had bought earlier.12
Zoya will end all this one day, he thought to himself.13
She would get bored and tired14 of how static their lives
had become,15 she would get restless.16 And did it really
matter?17
This relationship brought out the worst in him,18 he
knew that,19 and he had become lost in the irrational
little world that they had created together.20 She was
asleep in their bed upstairs, in the room above the one he
occupied,21 pale and peaceful,22 but with the promise of
insidious poison,23 but complementing his own unhealthy
needs and wants.24 It was toxic and parasitic.25
Desperately, he gulped from the can in his hand,26 his
eyes on the television screen,27 not really paying that
much attention to the comedy he was watching,28 more
interested in intoxication.29 He sighed after swallowing the
cold lager,30 took his phone up from the coffee table in
front of him,31 lit up the screen,32 but there was nothing of
interest to be found there,33 and he took another gulp from
the can after he put the phone back on the table.34 This
can was his second of the night, and he was still drinking
as though he were chasing something,35 because he was.36

1 Do we need both ‘unremarkable’ and

‘dull’? They’re virtually synonyms.
I have no problem with two or more
5 Now we have a definition of
‘shelter’ in case the reader isn’t
sure what it means. This is a very
8 This adds to the description. The
house is one of many.

adjectives, but they need to offer

various perspectives, Also, what do these
adjectives mean? Aren’t most houses in
residential areas generally unremarkable
or very similar? If this house is even
more dull than usual, how so?
roundabout way to begin. You could
have written something as simple as,
‘He lived in standardly anonymous
9 The third mention of it
standing, but standing is not
an action. All of the houses in the
semi-detached house.’ street and the town are standing.
What significance does this have?
6 Quite wordy. You could say ‘The
street was straight’ and the reader
10 It’s useful to know that it’s

2 This doesn’t really add much

information, except that it’s
semi-detached.
would understand which street is being
referenced (most houses are on a street).
night, though we should have
known this from the start to better
imagine the scene. The quiet is also

3 How is a house reliable? It’s an

odd adjective to apply to a static,
unchanging structure. You don’t really
use a house. It just exists. An unreliable
house would presumably fall down,
which isn’t very common.
7 The simile is problematic on
many levels. Pencil lines are, by
definition, relatively thin so a ‘great’
pencil line is something like an
‘enormous’ filament or a ‘massive’
thread – an oxymoron. I’m assuming
the line we see is from an aerial
perspective, but why is it dark grey?
useful. However, it’s a wasted first
paragraph. What have we learned?
That a house-like house is being a
house among other houses. There’s
no sense of expectation or surprise
or dread. You’re telling the reader
virtually nothing in seventy-eight
words. Worse, you’ve not created

4 Now you’re refined your definition

of ‘reliable’, but it’s largely
redundant. A piece of plastic or an
upturned dustbin could offer shelter.
The more information we’re given, the
less we’re practically being told.
Are there no cars? No road markings?
And why would ‘some’ god (any god?
Ganesh? Poseidon?) use a pencil?
Would it have to be a giant pencil? I’m
not trying to be facetious – the simile
just doesn’t withstand scrutiny.
enthusiasm to continue. This looks
suspiciously like a classic ‘warm-up’
paragraph – a bit of technique to get
the juices flowing before something
happens. Fine. But delete it or edit it
before showing it to the reader.

34 DECEMBER 2022 www.writers-online.co.uk

 TAP HERE
To read James
McCreet’s rewrite
11 A much better opening line. We
have a character doing something.
The house, as yet, is irrelevant. We can
assume its existence from the fact he’s
watching TV.
12 Is it important that he bought
the pack earlier? Maybe it is. If
not, cut it.
13 Who else would he think it to?
Delete ‘to himself ’.
14 ‘Tired’ is not different enough
from ‘bored’ to justify its
existence. Again, multiple adjectives are
fine but they have to do some work.
15 This is the end of the sentence
so you need a full stop rather
than a comma.
16 Isn’t this kind of a repetition?
You’ve already said she’d get
bored of the stasis.
17 How would we know? We don’t
know any of the context so the
question is largely meaningless at this
stage. We only know what the author
tells us.
18 There’s a danger here of straying
into ‘telling’ territory, where the
author fills in the background while
the character waits to continue doing
something. It’s not a problem yet because
these are the character’s thoughts – but
my microscope senses are tingling . . .
19 Full stop after ‘him’. It’s a new
sentence. The comma after ‘and’
isn’t necessary, but some rulebooks
would allow it.
In summary
Focus is the main issue here. Many words have been
used to express what two or three sentences could have
done. What has happened in three hundred words?
A man is watching TV and drinking because he’s in
a bad relationship. It’s not clear why or how it’s bad,
If you would like to submit an extract of your
work in progress, send it by email, with synopsis
and a brief biog, to: tjackson@warnersgroup.co.uk
20 This ‘irrational little world’ seems
intriguing, but as yet we have no
idea what it means so we don’t know how
isn’t paying attention to. It creates a minor
narrative dissonance by taking us out of his
mind to tell us something objective.
to react. How is it irrational? What is
rationality? Marriage itself is irrational if
you look at modern divorce statistics. 29 This has already been made clear.
21 You’re creating too much work
for yourself by being vague then 30 Why did he sigh? A sigh is quite
mild and resigned, but we’ve
immediately filling in the detail. Just say just heard that he’s actually desperate.
something like, ‘She was sleeping in the
bedroom directly above him.’
Previously, he was drinking beer but now
it’s lager. Is the difference important?
22 The room is pale and peaceful?
You’re stacking too many clauses
into the sentence and they’re infecting
31 The preposition ‘up’ isn’t necessary.
I wonder if it’s necessary to state
that the coffee table is in front? I think
each other. most people would assume that.
23 Are there friendly poisons? I think
you need another adjective to
categorize the kind of poison she is.
32 He didn’t light up the screen. He
turned it on and the phone lit up
its own screen.
24 What needs? And how does a
poison complement them? The
terms are too vague for us to understand
33 A wordy way of saying nothing.
A more effective way to do this is
to have him put it down without further
their relationship. comment and let the reader infer there
25 What was toxic and parasitic? We
was nothing.
assume you mean the relationship,
but we still don’t know how. We’ve just
been told that’s how it is.
34 The description is highly specific
but tells us almost nothing. The
scene isn’t progressing. Nothing has
happened. Maybe this is representative
26 ‘Desperately’ in what sense? Thirst?
The urge to be drunk? Does he
have an appointment? You don’t have to
of his life, but it’s not an engaging way
to begin.
say ‘in his hand’ because there’s no other
realistic way that he could take a gulp. 35 I don’t see the connection between
drinking and chasing, unless this
simile expresses what we’ve already been
27 Quite tricky to gulp from a can
while keeping the head level
explicitly told a couple of times: that he’s
trying to get drunk. Spirits would have got
and focused on the TV. It’s possible,
but awkward.
him here quicker.
28 Here, you’ve drawn the reader’s
attention to something the character
36 This is redundant. You’ve already
stated it a few times but without
giving any detail or context.
or whether we should sympathize with him, or if
anything is going to happen.
This is a very dangerous way to begin a story. Yes, James
has a boring life. But why should the reader be interested
in reading about it? The character needs to come alive.
www.writers-online.co.uk DECEMBER 2022 35
 Get the write idea
Think about how c harac ter influenc es story in these prompts and ex erc ises to try right now
Photo by Nick Fewings on Unsplash
PRICK
UP
YOUR
EARS
Imagine having the hearing of a creature that’s not human.
Firstly, decide on your creature. Is it an animal, bird,
reptile, insect? Or an imaginary creature, or even an alien?
Think about what your chosen creature can hear, and how
it needs to use its sense of hearing.
Now imagine that you are that creature.
Then write a passage or paragraph from the perspective
of your chosen creature, focusing on what it can hear and
how it responds.
Photo by Desiree Fawn on Unsplash
OTHER
HALF
Consider the effect a well-matched pair have on each other.
First, decide who the two people in your couple are. You
can invent them, or write from life.
Next, write a character profile of each person as an
individual.
Then, write about the way the two people function as a
couple, and what effect each one has on each other. Have
they become more like each other, or are they chalk and
cheese? What is it about their relationship that makes them
well-matched?
Finally, write a passage of prose or poetry describing the
personality of their relationship.
36 DECEMBER 2022 www.writers-online.co.uk
POINT OF VIEW
Write from the perspective
of someone looking out of
Photo by Rob Winga
the window.
You could imagine the
person looking at the view
in the picture, or choose
on Unsplash te
another window and view
altogether.
Decide who this person
is, and why they’re looking
through the window.
Writing in first person, imagine what is going through
the person’s mind as they look through the window. Bear in
mind that unless something striking has occurred, or they’re
concentrating on looking for a very particular thing, the
person probably won’t just be thinking about what they can
see. As you write, try to convey not just what they can see
and how it impacts on them, but also what other thoughts
and ideas they’re having, and how the various thought
processes might be expressed in words.
Photo by Darius Bashar on Unsplash
SHOCK
Explore a person who’s just had a shock.
Who is the person? What news have they received? It’s
likely to be unexpected - how do they feel?
How do events unfold? What happens next to the
person and how do they deal with it?
How might this shock be the beginning of a character-
based story, scene, poem or passage of life-writing?
Explore your ideas in any writing style that appeals
to you.

Photo by Harli Marten on Unsplash
SUNDOWNER
Script a conversation between two people watching
the sun set.
Who are they? Friends? Neighbours?
Acquaintances? Strangers?
What are the circumstances of them sitting down
together?
What are they talking about?
What feelings or emotions does the setting
sun inspire in each person, and how do they
communicate this?
Write their dialogue.
Photo by Stephen Leonardi on Unsplash
THE
PATH
AHEAD
Work out what the future holds for someone.
First, imagine a character who has faced a
major life change of some kind. Perhaps they
have lost a job, or a relationship has broken
WHO LIVES HERE?
down, or something that defined the way
they see themselves has changed.
Next, decide how to get your character
making the first steps to a new life.
Plot out the first steps they need to take to
get them onto their new path.
Once you’ve done this, note down the
changes between where they are now and
where they are at the end of your plotting.
www.writers-online.co.uk
GET THE WRITE IDEA
Photo by Jesus Boscan on Unsplash
GLOW
UP
Describe someone transforming themselves into their
most fabulous version.
Write from life, or imagination, in first person or
close third. Put yourself in the mind of the character
and imagine someone’s process of transformation –
how they started out, how they see themselves, how
they feel as they create their glow-up.
What effect does the glow-up have on them? What
effect does it have on the way they interact with
other people?
Write in any style or form for 20 minutes.
Photo by Amanda Wolbert on Unsplash
Decide who lives behind one of these windows.
Imagine who they are, how they live and how their
apartment reflects their life.
What is their daily routine?
Do they interact with any neighbours? If so, who
and on what kind of level?
Write a passage of prose or poetry that imagines the
inhabitant and their surroundings.
Get more prompts every day with The Writer’s App,
available for Apple and Android devices
DECEMBER 2022 37
 WRITERS’ CIRCLES
Best fee t first
Get your writing group to put on their dancing shoes in these exercises from Julie Phillips
F
rom ballet to bhangra, morris
dancing to the merengue and
street dance to swing, there’s a
dance for everyone. Researching
the cultural and historical
beginnings of dance, as well as having a
go at dancing yourself, can get you into
the rhythm of your writing.
When you think of a dancer, what
images spring to mind? Ask the group
to close their eyes and think about
what the word ‘dancer’ means to them
and the images and words it brings to
mind. Be as descriptive as they can.
What music is the dancer dancing to?
Maybe it’s something slow and classical,
or more modern and upbeat. Describe
their movements. Are they slow, loose,
elegant and flowing, or more staccato,
tense and dramatic? What are they
wearing? What is their facial expression
like? Are they serious and moody, or
bright and joyous? Make a word bank
of all the words they come up with.
Think about which style of dancing
they like best and why? Often a piece of
music being danced to evokes a memory,
of being taken to the theatre as a child,
maybe, or your first school disco. As
they think about dance, what emotions
do they feel? If they can convey those
emotions to the reader with their writing
and make the reader feel something, all
the better to keep them engaged.
Now make a character out of your
dancer. What drew them to dancing and
how long have they been dancing for?
Do they have a dancing partner or do
they dance alone? What potential conflict
might arise from their dancing life?
38 DECEMBER 2022
Maybe there is rivalry between another
dancer that causes tension, or a family/
partner, who are less than enthusiastic
about their dancing dreams. Could they
have been involved in an accident and
are learning to dance and move all over
again? What obstacles have they had to
overcome to be a dancer and what traits
do they have to enable them to dance
like they do? Are they an amateur or a
professional dancer? Maybe they hide
their dancing from everyone else for some
reason or they are too shy to show off
their dancing skills. Write a short scene
with the dancer centre stage. Something is
getting in the way of their dancing. What
is that and how does it make them feel?
How could they overcome it?
Research a few dances online. Ask
the group to divide into pairs or small
groups and each take a region of the
globe to research their region’s dances.
For instance, African dances such as
the Maasai jumping dance Adumu, the
polska of Sweden, the Odissi dance of
India, samba of Brazil or rock and roll
from America. Look at the culture and
meaning behind the dances and why they
are important to those areas. If you are
able, try and replicate some of the dance
moves from the areas researched and
try and teach them to the other groups.
What are the differences and similarities
of each dance?
Write a short non-fiction piece
about the dances they have researched,
concentrating on the words used to
describe them. Make that dance come
alive on the page, rather like a dancer
would on the stage. How does the dancer
www.writers-online.co.uk
engage their audience and captivate them,
leaving them wanting more? Think like
a dancer and be active in the words used.
Their descriptions should be sharp and
focused, painting a picture of the dance
for the reader. It should leave the reader
wanting more and be slightly out of
breath from the energy and vibrancy of
the dance and the dancer.
Try some dance fusion too. Try putting
two very different dances together and
see what the outcome is. For instance
what inspiration for a story comes to
mind when you take elements of morris
dancing and combine them with samba?
Or if you have moves from street dancing
and with ballet? What interesting stories
might emerge and what conflicts? How
do the two types of dance fuse together,
interconnect and bounce off each other?
What new story are they telling?
Dancers tell a story through movement
and expression. Watch a few dances but
turn the music off. What is the story? Can
you decipher what type of music they
might be dancing to just by watching
their movements? Are they precise and
controlled like in ballet or flamenco
moves, or are they more free and flowing,
more spontaneous as in street dance or
contemporary dance?
Using dance as inspiration for writing
can bring surprising results and can be
written in whichever genre is preferred,
so don’t be afraid to experiment and
see where the dance takes you. Each
dance step, foot position, arm sweep
and hip swing brings colour and life
to your writing, giving it rhythm and
keeping it flowing.
 WRITERS’ CIRCLES

CIRCLES’ ROUNDUP
If your writing group would like to feature here, whether you need new members,
have an event to publicise or to suggest tips for other groups, email Tina Jackson,
tjackson@warnersgroup.co.uk

SPOTLIGHT ON... Ayr Writers

Ever suffered from imposter syndrome? over a variety of writing genres –

That was how I felt when I went along
to my first Ayr Writers’ meeting, in
January 2020, writes Maggie Morton.
Yes, I had written some poetry, but I
was a babe in arms compared to the
talent there. Published novelists, poets,
children’s authors, non-fiction article
writers and journalists – success filled
the room. Fortunately, my worry was
unfounded – my new companions
were talented and welcoming in equal
measure. Phew.
Located on the SW coast of Scotland,
Ayr Writers’ Club – at 52 years old –
remains one of the biggest and most
accomplished clubs north of Hadrian’s
Wall. As many other groups discovered,
going virtual during the pandemic kept
Ayr Writers active; however, online
meetings could never truly match that
buzz of bringing motivational speakers,
friendly chats, coffee and Tunnocks tea
cakes* together in reality.
Our annual programmes include
guest speakers, workshops and feedback
evenings, aiming to stimulate interest
something I can personally vouch for.
In addition to improving my poetry,
I’ve now started writing flash fiction,
kids’ short stories, and the occasional
book review. I’m certainly not the only
Ayr Writer who has experienced this
expansion of creativity since becoming
a member!
Recent guest speakers have included
the women’s short story writer Kate
Blackadder, the all-things-drama-
related Lawrence Crawford, and a first just to get constructive feedback from
for Ayr Writers, local singer/songwriter experienced writers.
Scott Nicol. Plans for the 2022/23 So, that’s a wee introduction to my
programme are in their final stages: writing club. Be you a writing newbie
this coming year we’re delving into or published novelist, if you’re near
self-publication, YA fiction, science Rabbie Burns’ country, and free on a
fiction, and historical research, to name Wednesday evening, Ayr Writers would
a few, with Ben Oliver and Michael love to see you!
Meighan confirmed as guest speakers *Other biscuit brands are made
for the latter two genres. (Rabbie available at our meetings.
Burns and the Scots language may get Ayr Writers meet on Wednesday
the odd mention as well, naturally!) evenings, from 7.30pm-9.30pm, at the
Programme speakers often adjudicate Mercure Hotel, Ayr. Check out
our club competitions too – they’re a www.ayrwritersclub.co.uk for
bit daunting to enter, but worthwhile, more info.

All Seasons Writing Group

Every Wednesday afternoon promises to be a good read.
All Seasons Writing Group They make an ideal Christmas or
meets at Warrington birthday present, and all royalties are
Disability Partnership, writes donated to Warrington Disability
Cilla Shiels. They can be Partnership as a way of thanking them
seen beavering away, writing a collection of short stories, for hosting the group at the Centre.
poems and anecdotes, some for the first-time putting pen The group is a solid base run
to paper. throughout the year for everyone
Their latest book, Version 3, went on sale in paperback with or without disabilities who wish
and ebook on Amazon from Wednesday, 12th October and to write.

www.writers-online.co.uk DECEMBER 2022 39

 SUBSCRIBERS’ NEWS
SHARE YOUR NEWS
To feature in subscribers’ news contact: tjackson@warnersgroup.co.uk
CHANGING
PERCEPTIONS
ONE BOOK
AT A TIME
‘You know, addictions have a terrible
reputation,’ writes subscriber Sarina Wheatman.
‘It is a mental health illness that is so
stigmatised that most people feel it is a choice
made by terrible selfish people. Terrible
and selfish are consequences of untreated
addiction, but this stigmatisation is not helpful
when trying to get the right kind of help. My fourth book,
Communication and Connection (AKA Relapse Prevention), is an
attempt to change the narrative.
‘I came late to the world of writing – I disliked school so
much I left as soon as I was able. My own illness then took
over until fate took me in hand and I was able to find a way
out of addiction’s enticing grasp. Training to become a therapist
introduced me once again to learning and study and writing
reports, which to my surprise I discovered I liked.
‘Addictions are a mental health catastrophe, much maligned
and much misunderstood. My books are an effort to try to
demystify the illness and make recovery accessible to more
people. I started to coin the term “changing perceptions” after
my first book, when book fairs were still allowed. The pandemic
changed this and many things for many people; it changed me.
I developed what is often talked about in Writing Magazine’s
pages – the dreaded writers block. I couldn’t write a thing for
two whole years. Happily it lifted and voila my latest offering
has come into being. Without writers talking about this block
I might have given up and never tried to write again, so I have
reason to be grateful to numerous strangers for sharing their
experiences.
‘Writing Magazine has been useful on many levels, its pages
describing things that are not always known about the writing
world. Subscribers’ News, for instance, was my first experience
of seeing something I had written in print; exciting and scary
in equal measure. I believe that the experience of writing and
putting yourself out there in the world takes courage. But it is an
experience I have come to love. Although my books do not sell
in vast quantities I am still proud of them and always say that
if only one other person receives some help from what I have
written, I can be happy. The reviews I’ve been lucky enough to
receive on Amazon tell me I have succeeded.’
Website: www.sarinawheatman.com
40 DECEMBER 2022 www.writers-online.co.uk
A
helping
hand
‘When I first started writing (too many decades ago
than I care to remember!), I took a Writers Bureau
course and subscribed to Writing Magazine,’ writes
subscriber Esther Chilton.
‘The course was invaluable and taught me how to
write, and gave me the confidence to start sending my
work out to magazines and to enter competitions. But
it was when I won a Writing Magazine competition
that I truly began to believe in myself. I went from
strength to strength and now write full-time.
‘My passion is for fiction and I love writing short
stories. Two years ago, I thought I’d died and gone
to heaven when I was asked to judge a regular short
story competition. I relish reading all the wonderful
stories the entrants send in. A writer’s imagination
never ceases to amaze me!
‘As well as fiction, I enjoy writing non-fiction on all
sorts of subjects, ranging from writing, to nostalgia,
to travel.
‘I’ve been a Writers Bureau tutor myself for over
ten years now and have also started my own editing
business to help other writers realise their dreams.
‘When I left school I worked in a bank, which I
hated. I’m a wordsmith so why I ended up working
with numbers, I have no idea! But I feel very
fortunate to have been able to give up the day job and
to now be immersed in all things writing.
‘In my work, I encounter many writers who yearn
to become published. Often that first acceptance
seems to remain elusive. It started me thinking about
writing a series of books to help writers become
published. I’ve learnt many skills along the way, and
I want to share these with writers who need that little
bit of help.
‘Publication Guaranteed (well, almost!) is the first
book in the A Helping Hand For Writers series. It’s
full of advice, tips, examples and exercises to work
through, with a view to becoming a published writer.
The book is available from Amazon in ebook and
paperback format.’
Website: www.esthernewtonblog.wordpress.com
 Pay Day
pay dirt
‘Like many writers, I was a book
loving child who was always
telling stories but I fell into
the trap of growing up,’ writes
subscriber Michelle Mclean.
‘It was a journaling exercise
on “what did you love doing
as a child” many years later
that brought me back to creative writing.
‘I took a short course and tried a
writing group but it wasn’t for me. I
needed a level of accountability and
structure that would make me show up
for myself. So I enrolled to study with
the Open University.
‘Studying the craft was intimidating
but fulfilling. It also took a lot of
organisation around work and family
commitments and there were a few
bumps along the way, a global pandemic
being one. The joy I felt when I
submitted my final essay in May 2021
was huge but was surpassed by even
greater joy two months later, when I
learned that I was graduating with first
class honours.
‘I spent that summer editing and then
self-published my book – a collection of
short stories. Pay Day and Other Teabreak
Tales is available on Amazon, in Sandwell
libraries and on my website. Finally able
to call myself an author, I thought that
would be it but it turned out to be just
the start.
‘In the last twelve months, I’ve had a book
launch at an indie bookstore (who stock my
book), participated in social media author
events, held writing workshops for GCSE
students and joined a magazine as a staff
writer. I have also been holding workshops
in my community and for corporate clients
on writing for wellbeing.
‘A creative writing degree certainly
isn’t a requirement to be a writer but
I have found that it has opened doors
for me. I’ve caught the study bug and
have now completed the first year of
a Masters degree in Creative Writing.
For my dissertation next year, I will
be submitting part of the novel I am
working on and my aspiration is to go
on to have it traditionally published.
Now, I just need to get the hang of
#BookTok!’
Website: www.micarlib.com
Once you’re in you’re in
‘I am pleased to announce the publication of my latest novel, Learnin’ the
Family Business; the story of a low-level New York Mafia family living in
the 20th century,’ writes subscriber Michael J Richards.
‘Starting in 1926, it follows the Carabillos through Tony Carabillo,
Franco, his son, and Gary, his grandson. It ends in 1991.
‘As well as the stories of each of the Carabillo generations, Learnin’ the
Family Business follows the social, political and criminal changes that
transformed the USA over the years.
‘Research into all three aspects took up a lot of time, of course, but it’s been a
fascinating two-year writing journey.
‘As my fellow historical writers will recognise, it’s finding the small details that are the
most vexing.
‘How did someone make a cup of coffee before the invention of instant coffee? What
did a gym in the early ’30s look like? What exercise equipment was available? What
happened to mafiosi during WW2? Where did they go? What did they do? How did
you get a driving licence and insure a car in ’50s New York? How much did a waiter get
paid in the ’70s? What was prison food like in the ’80s?
‘Another issue was tuning the language to reflect the times. Making sure the
vocabulary and grammar evolved as the decades passed was an exercise in precision and
having to be careful to make it intelligible to the reader without sacrificing idiomatic
authenticity. Another absorbing challenge was consideration of when to drop the final
letter of present participles.
‘Learnin’ the Family Business is my seventh book, and I have edited five anthologies for
Northants Writers’ Ink, a writers group based in Wellingborough, Northamptonshire.
I’m currently working on a collection of long short stories all with the theme of murder.
‘All books are available on Amazon.’
Website: www.northantswritersink.co.uk
MAL TAKES FIVE
‘In 2015 I inadvertently embarked on my novel-writing journey
believing that my first book, The Asylum Soul, would be a one-off,’
writes subscriber Mal Foster.
‘As I was about to rest on my laurels, I quite unexpectedly began
receiving numerous requests such as, “When is your next book out?” and
getting some very generous reviews on Amazon, Goodreads and elsewhere.
‘It didn’t take too long for me to realise that some people were
actually reading and enjoying my work. I had also caught the “story-telling” bug,
so inevitably, a second, third and fourth novel was always forthcoming, again
harnessing some great reviews.
‘Now though, I was at a crossroads wondering where my next book was coming
from. In the end, following a short spell in hospital last summer, and with time to
think, I didn’t need to look too far. Memories of my own upbringing and some of the
things I witnessed in the 1970s presented me with a whole kaleidoscope of possibilities
and my fifth novel, Fluke’s Cradle, was born.
‘The book, set in the present day, tells the story of middle-aged, down-on-his luck
Eddie Noble, who always wondered who his father was. His mother died shortly
after childbirth, and those shielding him from life’s future challenges were not always
forthcoming with answers. Following a mysterious medical episode whilst searching
for his mother’s grave, Eddie becomes increasingly convinced he is the person he was
in a previous life. He then undergoes an enforced period of regression therapy to aid
his rehabilitation. 
‘Since its publication in April, the book has been very well received and has featured on
local radio in Surrey. I’ve also hosted successful book-signing events in Woking where I live.
‘Fluke’s Cradle is available in ebook, paperback and hardcover formats from Amazon.’
Website: www.malfoster.co.uk
www.writers-online.co.uk DECEMBER 2022 41
WRITING FOR CHILDREN
Children’s literature is full of school stories – but what about stories featuring children
who are home-educated? Amy Sparkes looks at creating possibilites for home-schooled
children to see themselves in a book.
here are more children
than ever being home
educated – but how often
do these children see
themselves represented
in a book? How can we use home
education as a launch pad for
storytelling and create authentic home
educated characters?
Why home education?
I am a home-educating mother of six
(although my eldest is at college, so I
only home educate five children) and
one thing I have learnt is that the home
education community is extremely
diverse. People home educate for
different reasons. Why is your character
receiving a home education? Reasons
for home education (and it could be
more than one!) may include:
• Family set-up
• Lifestyle / cultural / philosophical
ethos
• Travel opportunities
• Dissatisfaction with school
environment
• Special educational needs
• Medical reasons
• Exclusion
• Moving to a new area
It’s worth remembering that some
children may have tried school but
others will never have set foot inside an
educational institution.
How can you use the reasons above
to generate story ideas? Or inciting
incidents? Let’s take ‘family set-up’.
One of the great advantages for
home education for us, is that we
can travel whenever we like to spend
42 DECEMBER 2022
time with grandparents. Everything
is so beautifully flexible, and you
can work out what is right for you.
So, for example, what if your child
protagonist maybe splits her time, and
spends some of her year with a parent,
and some of the year living with a
grandparent and doing home education
with them? What if this grandparent
had something slightly magical about
them? Maybe an object, or perhaps they
were magic themselves? Which other
characters might your home-educated
protagonist meet when they go and
spend some time with Granny? Do they
have a best friend they link up with
there? If visiting Granny is a regular
occurrence in your protagonist’s life,
there could be scope for series potential,
with a different adventure each time.
Or think about lifestyle. Home
education offers wonderful freedom.
What if your character travelled
around? Or what if they lived deep
in the countryside and offered guest
accommodation? The arrival of certain
guests could act as an inciting incident,
and with your home-educated
character around a lot of the time,
there could be potential for them to
find out more, rather than spending
most of their day at school. Who
might the visiting characters be? What
secrets do they have? How might their
arrival initiate a story?
Character creation
Assumptions about home educating
aren’t always correct! It’s important
to know home educating is wildly
different (and far more enjoyable!)
www.writers-online.co.uk
than the enforced home-schooling
experienced in lockdown. So, as with
any character you create who is from
a community or background different
from your own, be respectful and
do your research. Talk to parents or
children who home educate and ask
for their experiences. Bear in mind,
experiences will vary hugely, and there
is no one way of doing things. But it
will give you an insight into how it
works for some people.
When you create your characters
think about why home education
was chosen. For example, it could be
the child protagonist is exceptionally
bright, and a school environment
wasn’t challenging enough. How
might this child learn? What
educational opportunities might they
take part in? Which other characters
might they cross paths with? In
this example, perhaps a child might
spend a lot of time down at the
library or a local museum and
build up a key relationship with the
librarian or curator.
Or it could be the child protagonist’s
family relish freedom and adventure,
and they have an adventurous outlook
on life. How will this upbringing affect
your character? What effect would
it have on their confidence? Their
curiosity? Their skills and knowledge?
Remember that if you’re creating a
family environment, that characters
will be and should be different. There
may be similarities in personalities or
outlook, but every character is still an
individual. If you’re creating a family
with, say, three home educated children,
how will those children be different?
Similarly, it may be that not every child
in the family is home educated – it
comes back down to reasons.
Home-educated children usually
have more time available to follow their
interests and develop as individuals,
rather than conforming to a set of
expectations in studying (such as
subjects covered) or expected behaviours.
For example, instead of wearing school
uniform for a large proportion of their
lives, home-educated children wear
clothes which reflect their individuality.
Rather than studying subjects which
they have no interest in, they can devote
more time to those which they enjoy or
are particularly good at, and so are more
likely to take forward in life. How might
home education affect your character
and their sense of self?
It’s also important to note that
home-educated children are indeed
children. They experience the same
emotions, frustrations and problems
that other children face. When
you create your child character,
think about the difficulties they
face personally and emotionally.
What might they need to be a more
developed version of themselves? What
is the flaw which makes them the
architect of their own downfall?
Another option, of course, is that
instead of having a home-educated
child as your protagonist, they could
be an antagonist, or a supporting
character (friend or foe). If you do
create a home-educated character as
an antagonist, be mindful of how you
portray them. As an often-overlooked
minority, home-educated children
don’t often see themselves in books, so
it’s helpful if your antagonist doesn’t
portray characteristics which reinforce
negative views of home educating, for
example, that the child is ‘odd’, or
extremely socially isolated, unless you
have very good storytelling reasons
why this is the case.
How does home education work?
Home education works differently
for different people – again, even in
the same family. Some people follow
a curriculum, whereas some are more
flexible. Some stick to timetable and
follow school terms. Some have a more
ad-hoc approach. This will probably
link closely to the family background
and the child’s individual personality,
preference and needs, so think about
those when you create your characters.
This will help with plausible characters
and authentic storytelling. My children
are all very different. One wants a
timetable in September, does her own
thing by October and likes working
early mornings and evenings; another
leads her own work independently,
and chooses which subject to work on
depending on how she feels that day;
one likes everything planned, colour-
coded and with deadlines and works
best with music and candles in the
background... and so it goes on. Each
child is different. Each approach is
different. Each character is different.
The brief for home education is that
every child should receive a full-time
education – but it does not specify what
exactly or when exactly that education
has to be. If a child has a strong sense of
what they would like to do (for example,
working with animals, performing
arts or design) they will likely spend
some proportion of their educational
time developing these areas of interest
rather than studying some elements of a
traditional syllabus or curriculum which
don’t particularly appeal to them.
For example, one of my children has
always wanted to go into performing
arts, so instead of doing subjects
like physics or chemistry, she spends
more time studying and performing
Shakespeare, learning about film
production, taking courses in voice
acting, and other areas which put her in
a much stronger position for her chosen
career. What about your character? It
may depend on how old they are and
how self-aware they are, but what are
their interests? What are their strengths?
How will that affect the subjects they
study, the place they study and the way
they study?
Flexi-schooling is another thing to
consider for your character – where the
child attends school for set days (often
www.writers-online.co.uk
three days a week) and is home educated
for the remaining days.
Home education also lends itself to
many trips and adventures. We are
often found beside waterfalls, up trees
or in museums. Home education does
not mean just staying at home – in
fact, it gives you freedom to do the
opposite. Personally, we tend to do more
formal learning Monday to Wednesday,
Thursday is Forest School, then Friday is
Family Adventure Day! A lot of learning
can take place elsewhere.
There are also many daytime clubs
and activities for home-educated
children, such as hands-on science clubs,
drama clubs, farm projects, forest schools
and hundreds of other opportunities
where home educated children meet up
together regularly. Sometimes parents
run initiatives where everyone pitches
in and takes a turn to run sessions on
something they are skilled in, from
cookery to coding. How could you use
settings like this where children gather
– perhaps on a regular basis – in your
story? A story featuring a home educated
child doesn’t have to feature a child on
their own all the time!
From a social point of view, it’s
also worth mentioning that home
educated children do actually mix
with school-educated children! Clubs
that run outside of school hours
(such as Brownies, or swimming, or
martial arts) give good opportunities
for mixing. As does just hanging
out with the other children in your
neighbourhood – thrown together by
geographical convenience. For those
children who did once attend a local
school but no longer do, school-made
friendships can continue after school,
at weekends, and through shared
clubs. These are all great opportunities
to include a home-educated child in
your wider cast of characters and help
diversify your writing.
I hope this has given you some insight
into the world of home education
and encouraged you to think about
including a home educated character in
your story. After all, every child should
see themselves in a book!
DECEMBER 2022 43
 FREE
RANGE
w r iting Memory
tests
Explore living with dementia in these writing
exercises from Jenny Alexander
W
ith a nod to
Christmas, Elf Day in
December is a fun and
colourful way for the
Alzheimer’s Society to raise funds and
awareness. Dementia is a topic that
touches most of us, either because we
know or care for someone who has it,
or simply because it will affect so many
of us in our lives that we may worry
when we can’t remember a word or
forget what we went upstairs for.
Writing on a single theme across
different genres enables us to engage
on every level, body, mind, heart and
soul, to arrive at a deeper awareness,
provide material we might work up
into a finished piece and also develop
our writing style. Give it a go with
this month’s dementia-themed free-
range writing.
Non-fiction
We don’t usually start with non-fiction,
but it will be helpful for your stories
and poems if you have done some
research first. Alzheimer’s is a form of
dementia. The facts and figures are
interesting, but your main focus will
be living with dementia and if you put
that in a search engine you will find
lots of information about the day-to-
day effects on sufferers and carers at
different stages of the disease.
If you know someone who is living
with dementia themselves or caring for
someone with the condition, they will
be able to offer more personal insights,
so why not give them a call? Writing
about real life can be a great opener for
interesting conversations.
This task is purely research which is
the first stage of non-fiction writing.
You will need the full twenty minutes
just for reading articles and making
some notes. Notice, when you go
on to the other genres, how having
44 DECEMBER 2022
information on your theme fresh in
your mind makes it easier to develop
your stories and poems.
Memoir
Write for ten minutes about your
personal experience, thoughts, feelings
and fears around dementia, just
whatever comes. Don’t try to structure
it; just let it go where it wants to.
When one line of thought runs out,
simply start another.
This kind of flow writing works
by creating a space for ideas to come
in. When you empty your mind,
drop a topic into it, start writing and
keep your pen moving on the paper.
Something always comes, and what
comes might surprise you.
When the time is up, read back over
what you have written and underline
any words or sentences that jump out
at you.
Then write a reflection on the whole
experience. What did the flow writing
feel like? What did you discover about
yourself and the topic of dementia?
Take five minutes. If you’d like to try
something different, you could do
this part in the third person, instead
of ‘I’. ‘When she started writing,
she thought…’ Playfulness and
experimentation is the root of creativity.
Fiction
I run a lot of writing workshops, so
I hear a lot of stories, and one that
has stayed with me was by someone
describing a trip to her local shop with
her husband who had Alzheimer’s. She
didn’t think anyone would be interested
to hear it, because it felt to her like
just a humdrum part of a humdrum
life, but for people who have imagined
dementia without experiencing it her
story was riveting, and for those who
had cared for a dementia-sufferer, it
www.writers-online.co.uk
was affirming. Through small moments
and details, she brought the situation
vividly to life.
This fiction piece is a scene between
a dementia-sufferer and their carer,
who may or may not be a family
member. Write some character notes
about each. How much does the
dementia affect their day-to-day life?
What are their hopes and fears for the
future? Their feelings about the past?
What is their living situation? What is
the history between them?
The story I’ve described began with
the couple entering the shop and
ended when they left. Your story is
likely to feel small too, in terms of
action. The trick with this one is to
really feel your way into the characters
and capture the moment as vividly as
possible. Take twenty minutes.
Poetry
People who are suffering from memory
loss often make lists. For this month’s
poetry task, imagine you are in the early
stages of dementia, beginning to forget
important things, and write a list poem.
A list poem is just what it sounds
like, a list of things, people, places
or thoughts. What makes it a poem
is the language and musicality,
perhaps including repetitions, the
organisation of your material, and
the movement towards a satisfying
closing line or couplet.
What kind of things might your
list include? How can you make it
clear the narrator is suffering from
dementia? For example, in a list titled
‘Telephone numbers’, the narrator
might include names and roles in
brackets – Jim Farley (plumber),
Archway Stores (newspapers) and so
on, and end with Rachel (daughter).
Try a couple of different ideas. Take
twenty minutes.
 Personalised writing courses
to help you achieve your goals
• Choose your own tutor from the comfort of your home
• Up to two years to complete • Spread the cost and pay monthly

Courses include:
Fiction
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 FICTION FOCUS
Find the
real you
We write best when our work
reflects who we really are, says
Margaret James
s a teacher of creative writing, I’ve always
felt it’s important to try to understand what
motivates my students, even if the students
themselves aren’t entirely sure.
Why does anyone want to write?
Why do any of us want to do anything?
It’s often because activities such as going to the gym,
running, crafting, swimming, baking cakes, getting
involved in local or national politics, fundraising for a
good cause, listening to Classic FM – I could go on and on
– make us happy. They also help to put us in touch with
our real selves, encouraging us to explore and to discover
what we perhaps ought to have understood about ourselves
already, but maybe haven’t actually thought about before.
How do writers of fiction go about discovering our
real selves?
Possibly by trying to work out how we would describe
ourselves to other people with reference to what we enjoy
doing in our leisure time, and also – if we are lucky – in
our working lives?
Chess fanatics and bridge players tend to be good at
strategy, which has to be a useful talent in a crime novelist.
One crime writer I’ve known for a long time is a chess
enthusiast who is also addicted to Sudoku, Kakuro and
cryptic crosswords, and I feel this is just as well because his
novels are satisfyingly full of the most challenging puzzles.
A romantic novelist friend is one of the most empathetic
people I’ve ever met, and I’m sure she could have had a great
career in counselling if she’d been able to take time off from
writing bestselling romantic and relationship fiction.
46 DECEMBER 2022 www.writers-online.co.uk
Historical novelists tend to believe that human nature
doesn’t really change. This belief must surely help them to
connect with characters from whom they are separated in
time by a hundred, several hundred or even thousands of
years, and is likely to encourage readers to connect with
these characters, too.
I asked a few commercially published novelists about
putting their real selves into their writing, and here’s what
they told me.
‘The real me definitely comes through in my work,
especially in respect of my own values and ethical
standards,’ says Elizabeth Bailey, who writes the Lady Fan
mysteries and is the author of many other historical novels.
‘A group of writers and I were discussing this subject at a
recent retreat, and we all came to the same conclusion.’
‘I love history, historical puzzles and detective stories,’
says Toni Mount, author of medieval mystery fiction and
also of non-fiction about the Middle Ages. ‘So yes, my
books do reflect my character.’
‘I think my personality does come out in my books,’
agrees Jeanette Taylor Ford, author of the River View
Mysteries set in Herefordshire. ‘I’m religious and don’t care
for swearing or explicit sex scenes in fiction, but sometimes
it’s hard to write crime novels without using a lot of
swearing. I’ve also had various paranormal experiences, as
have my mother and my two daughters. These often crop
up in my books. Recently, a reader told me I do spooky
really well.’
‘My characters share my love of Cornwall and being
by the ocean,’ adds Amanda James, author of romantic,

relationship and mystery fiction. ‘I think my
sense of humour and tendency to overthink
pop up from time to time, too. I believe all
writers must put a bit of themselves in their
characters. How could they not?’
‘A writer’s personality is not static. It’s an
evolving, developing entity,’ says Lorraine
Turnbull, novelist, memoirist and author of
several volumes of non-fiction manuals on
rural life. ‘As I’ve produced more books, and
done more living, I’ve mellowed. Also, I know
the books themselves have changed me. Some
have helped me to reflect on and then to
accept things which I could not accept when
they were fresh. Other books have changed
me as I’ve polished my writing and gained
confidence as an author.’
‘There’s a bit of me in everything I write,’
says Lizzie Lane, prolific romantic, historical,
mystery and relationship novelist. ‘I used to
own a hotel, and my cosy crime series (writing
as Jean G Goodhind) is set in a hotel in Bath.
I was once PA to the senior medical advisor at
Imperial Tobacco, which came in useful while I
was writing The Tobacco Girls series of novels.
So yes, my characters do tend to draw on my
own experiences of life.’
What really interests you in life? As many of
those bored and half-frozen parents standing
shivering on weekend touchlines while they
watch their offspring whack each other with
hockey sticks or try to score a winning goal
will ruefully testify, it’s hard to get involved in
anything that simply doesn’t engage you.
So, if you’re not actually fascinated by what
happened (or might have happened, or ought
to have happened) in the past, maybe don’t
try to write historical fiction. Anyone who is
good at puzzles might find writing crime or
mystery fiction really satisfying. But, if you
are more interested in why people fall in love,
and what the outcome is likely to be when
they do, perhaps your big writing challenge
now is to make contact with the romantic
novelist in you.
NOW TRY THIS
• The best piece of writing advice I’ve ever heard
is this: get in touch with the real you, and your
fiction should flow.
Five quick
questions
with Dee MacDonald
1. When and where did your journey as an author begin?
Probably back in the 1950s in Scotland. As a child, my mother would
encourage me to write ‘wee stories’ to pass the long, dark winter nights.
Never one to resist a challenge, I wrote a book – a romance, no less –
the pages of which I sewed together with wool.
Life got in the way until, nearly seventy years later, I joined a creative
writing class and got the bug again. Then, having had a short story
published, I decided it was time to be more ambitious.
2. What is, or has been, your proudest moment as an author?
Without doubt my proudest moment was having my first novel The
Runaway Wife published at the ripe old age of seventy-seven.
3. Who or what is your greatest inspiration?
I discovered a gap in the market for books about older ladies. Most of
the novels I’d been reading featured female protagonists in their twenties,
thirties or forties, and I wondered why hardly anyone was writing about
ladies in their sixties and seventies. So I decided to write about them.
Older ladies read a lot of books, too.
I find people-watching very inspiring. I’ve had plenty of opportunities
to do that, having worked in London in the early sixties, then flown as a
long-haul air stewardess for eight years. I did market research, worked in
sales and for Thames Television before ending up in Cornwall doing bed
and breakfast. So I met potential characters galore.
4. What is coming up next for you fiction-wise?
My tenth novel, which is the sixth in my Kate Palmer cosy crime series,
is just about to be published.
I would also like to go back to writing more general women’s fiction
because I’m much better at inventing characters than I am at inventing
complicated plots.
5. What is your top tip for writers still on the journey to publication?
Write what you enjoy reading because, if you enjoy writing it, people
will enjoy reading it. So write, and then edit, edit and edit again. Read
your work out loud to yourself, or to a constructive/helpful friend, and
you’ll be surprised at what you find: repeated adjectives on the same
page, overdoing the adverbs, using clichés and, horror of horrors, telling
instead of showing, all of which are taboo. Afterwards, edit again!
DECEMBER 2022 47
VISIT
https://writ.rs/onlyorange
TO READ THE STORY
Orange isn’t
the only colour
Helen M Walters explores using dilemmas effectively in
your short fiction via a story by Camille Bordas
his month’s story
has a main character
who isn’t particularly
sympathetic, for reasons
we’ll discuss in detail.
In Only Orange we meet Jeanne, who
is on holiday with her family and
finding herself reacting badly to her
brother’s girlfriend, Audrey. As always,
you will get the most out of this
masterclass if you read the story for
yourself: https://writ.rs/onlyorange.
Jeanne’s troubled personality is
central to the story, and we’re going
to look at how the author holds our
interest and makes us want to keep
reading even though the narrator is
someone who is quite uncomfortable
to be with. Along the way, we’ll look
at some other key features of the story
including the themes of different
people seeing things differently, and
the nature of insiders and outsiders.
Let’s start with Jeanne and her
issues with Audrey and others.
One thing that might initially feel
somewhat strange to the reader, is
that Jeanne seems to resent Audrey
for two things that are out of her
control, and which might generally
be perceived as deficiencies rather
than advantages. These two things
are that Audrey is colour blind, and
that she is an orphan.
If we try to follow Jeanne’s
reasoning, it would seem that one
48 DECEMBER 2022
of the reasons she is irritated by
Audrey’s colour blindness is that
it is something that other people,
including Jeanne’s own parents, find
interesting and want to pay attention
to. This leads Jeanne to believe that
Audrey is just attention seeking.
Jeanne envies Audrey’s orphan status
because she has romanticised the idea
of not knowing who your parents
are and not feeling doomed to end
up like them. She wants to distance
herself from what she sees as her own
problematic family.
Jeanne is also jealous of her brother
Lino. This is despite, or possibly
partly because of, the lies that she
was told when they were children.
Her mother had told her that Lino
was born holding a present for her,
but when she realises that isn’t true, it
makes her resent her parents and also
Lino. There is a contrast with Audrey
here. Audrey has a lack of information
about her family background. For
example, she’ll never know if her
colour blindness is inherited from a
parent, whereas Jeanne feels she has
the wrong information. Feeling like
an outsider in her own family, Jeanne
has convinced herself that her parents
liked her former partner, Matt, more
than they like her. When we get to
meet Jeanne’s own daughter, Marion,
we realise that she is also something of
an outsider who has to be encouraged
www.writers-online.co.uk
to make friends.
Jeanne is full of contradictions. She
resents the fact that Audrey seems to
see her only as a source of discussion
about the colour blindness that Jeanne
was (supposedly) the first to notice.
But, on the other hand, she is also
pretty obsessed with Audrey’s colour
blindness, spending time researching
it on the internet and musing about
whether Audrey is telling the truth
about it or not.
The way in which the reader is
invited to consider this issue and try
to weigh up conflicting information
is another interesting aspect of this
story. Audrey’s colour blindness is first
uncovered when Jeanne remarks that
all of her clothes are beige (or oatmeal
if she’s being a bit more polite about
it), but Jeanne also remarks that she
can’t understand how someone could
get to the age of twenty-six without
realising they were colour blind.
Is Audrey lying about her colour
vision? We are told that she is on
the beach with a pink towel that
she thinks is baby blue. Why does
she think it’s baby blue if she can’t
distinguish colours? Or maybe she
doesn’t, and this is just another jibe
from Jeanne.
There is evidence both ways
regarding whether Audrey is really
colour blind, and what is interesting
about the story is that it ultimately

hinges on whether the reader decides
to believe Jeanne, or to believe Audrey.
This is quite a neat trick from the
author and helps the reader to feel
absorbed in, and part of, the story.
One of the interesting issues raised
by the discussion of colour blindness
is the ways in which different people
see things differently, and how that
can be expressed. After all, how do you
describe something when you don’t
even know if you’re using the same
terms of reference as everyone else?
Colour blindness isn’t the only
context in which different perceptions
are considered in this story. We also
have different languages coming into
play. The characters are in Spain but
they are speaking French to each
other. (Note that the author does not
have English as their first language,
but French.) There is confusion when
Jeanne is speaking to a Spanish waiter
about Audrey’s colour blindness and he
misunderstands, thinking she means
Audrey isn’t racially prejudiced.
Another aspect of perception is
highlighted when we learn that
Jeanne’s former partner (Marion’s
father) is a reality TV star,
underlining the difference between
so-called reality, as presented in the
media, with actual reality.
Visual perception is considered
once more when Jeanne buys Audrey
some glasses which can correct colour
blindness. She wants to see for herself
as Audrey puts them on for the first
time, partly because she wants to catch
Audrey out in what she thinks is a lie.
But because she is called away to deal
with a family emergency involving
Marion, she only gets to see this via a
video made by her brother.
Finally, notice how at the end
of the story, Jeanne deliberately
excludes herself from the family
sketch that Lino is drawing. The
sketch isn’t reality, it’s just a picture,
but she’s still making a point of
absenting herself from it and
remaining an outsider by choice.
WHAT A DILEMMA!
We all know that a good story needs
to have a dilemma or problem for the
main character to solve. In Only Orange
Jeanne’s problem is her inability to fit
into, and accept her place in, her family.
It’s quite a low-key dilemma in some
ways, but it is made meaningful and
compelling by the way the reader is
encouraged to relate to the characters
and engage with the complexities of the
family relationships.
But you might want a more dramatic
dilemma for your characters to deal
with. As regular readers of this column
will know, I’m a big fan of learning
about writing by watching good
television drama. We can learn from the
masters of screenwriting as well as from
the masters of short story writing.
I want to talk about an example
from the long running US series,
Designated Survivor. The premise of
the programme is that the whole of
the US government is wiped out in
an explosion, leaving one ‘designated
survivor’ to take over and become
president. This role falls to Thomas
Kirkman, who is a low-ranking
Housing Secretary. Don’t worry if you
haven’t seen it, this will still make sense.
At one point in the story the
character of President Kirkman is
presented with a huge dilemma. The
governors he is relying on to form his
new administration almost all refuse to
do so unless he stops all immigration
into the country. He doesn’t think this
is the right thing to do, or an answer
to the problems they are facing. But if
he doesn’t agree they won’t support him
and he won’t be able to run the country
at all. A pretty big dilemma, right?
But that’s not the end of it. Next,
we have to factor in that his wife is
an immigration lawyer with personal
responsibility for a group of asylum
seekers trying to enter the country
right now. That’s how you up the
stakes, increase the tension and escalate
the conflict. It’s still a problem based
in a family relationship, but, because
www.writers-online.co.uk
MASTERCLASS
of the nature of the family, it has
global consequences.
Of course, your characters won’t
necessarily have the weight of the
world on their shoulders, like the
president, but don’t let that stop you.
How big do you want to make the
stakes for your characters? This will
depend on the genre of the story you
are writing and the scope of the themes
you want to explore. If you’re writing
a political thriller like Designated
Survivor, the stakes are likely to be more
incendiary than in a family relationship-
based story like Only Orange.
In the end, it’s about finding the
right size and nature of dilemma for
your character and your story. After all,
Jeanne’s problems may not be on the
same scale as those of a newly installed
president of the United States, but
maybe to her, proving that Audrey is
lying about being colour blind is as
important as leading the free world is
to Tom Kirkman.
What dilemma will you give your
main character and how will you
crank it up? Here are some ways to
maximise dilemmas:
• Make it personal. If you can
involve a friend, loved one, or
family member of the protagonist,
then whatever decision they have
to make will be made more intense
and emotional.
• Make it finely balanced. Make
sure there are pros and cons both ways.
If it’s too obvious which is the right
decision, readers might lose interest.
• Make it have big consequences.
There will be consequences either
way depending on what your
character decides. But make sure the
consequences of making the wrong
decision are catastrophic.
• Make it quick. Put a time limit on
how long your character has to make
their mind up. Solving a dilemma with
the clock ticking piles on the pressure.
Pick a dilemma, make sure it works
for your story, and then make sure you
get every inch of mileage out of it.
DECEMBER 2022 49
 FA N TA S T I C R E A L M S
A climate for
Climate change is surely the most pressing challenge we face, and it’s no surprise that it is
being reflected and explored in a growing number of novels. How will you tackle the subject?
Asks Alex Davis as he guides us through eco-fiction and charts the rise of ‘cli-fi’
nless you happen to be living completely
off-grid, you’ve probably noticed that the
environment and climate change have been
very big news lately. And rightly so – there are
many dire predictions of what might lay ahead,
perhaps not for our generation but those yet to come, should
humanity not find a better way to live in the natural world
that surrounds it. And while this isn’t a new message, it is
being taken up and spread with a fresh energy and renewed
vigour that continues to drive the message to the top of the
news, as well as often to the top of social media listings.
And in this (ahem) climate, it’s not surprising to see
that authors are beginning to reflect those concerns in
their fiction. Books – and indeed storytelling across all its
mediums – has always been a response to the times and the
culture. As such, the emergence of ‘cli-fi’ – or ‘climate fiction’
in full – tells us that fiction is as ready to embrace these ideas
as non-fiction. In this article, we’ll take a look at what we
mean by cli-fi, some tips on how to write it, and provide a
little reading for those interested in this emerging genre.
The origins of cli-fi
As is so often the case when we discuss a genre or subgenre
effectively being ‘born’, there are always examples that far
predate the definition and a canon starts to be discussed and
(to some extent) agreed upon. The term itself only originated
in 2006, but you can argue examples existed far before this
– the awareness of damage being done to the environment
is not exclusive to the 2020s, or even the 2000s. The term
‘global warming’ has existed since 1975, so while we have
a definitive trend right now, we should not ignore what
has come before. One of my personal favourite authors,
JG Ballard, was exploring ideas like this in the early 1960s
with The Wind from Nowhere and The Drowned World, and
in 1966 Harry Harrison’s Make Room! Make Room! took a
long look at the dangers of overpopulation. Frank Herbert’s
50 DECEMBER 2022 www.writers-online.co.uk
growth
seminal 1965 novel Dune is also seen as a forerunner of the
form – so don’t be afraid to look further back as well as at
recent reading if cli-fi interests you.
The genre question
Given the way the term is abbreviated, it’s not a big leap
to assume that cli-fi is being seen and/or sold as an arm of
science-fiction. That’s probably right in some cases, but is not
something we could necessarily say universally. For a start,
it’s quite possible that in time cli-fi will become sufficiently
recognised to become a genre all of its own, with shelves
in your favourite bookshop. It’s also a question of what
stance the particular piece of cli-fi takes. It can be a more
science-fictional take, but it might veer more towards the
dystopian – which sometimes is also seen as a branch of SF,
but can certainly push rather darker and also wander more
into literary territory. Cormac McCarthy’s The Road and
Margaret Attwood’s MaddAdam trilogy would both be good
examples of these borderline cases. Cli-fi novels can also find
themselves getting very much into horror territory – you
could argue the case that some zombie fiction represents
cli-fi, depending on the source of the outbreak. And let’s
not forget the terrifying trees of M Night Shyamalan’s The
Happening… OK, so maybe that last wasn’t a great example,
but the point is that in many respects cli-fi is a genre ‘in
development’, and the boundaries that may exist in genres
with many decades or centuries of development may be more
rigid or difficult to push against.
Managing the messaging
One of the challenges that can exist within cli-fi is getting
the message of the book over in the right way. While we, of
course, need a compelling story the reader will want to engage
with, we do need to consider the point the book is trying to
make. While so much classic science-fiction was a warning
about where science might go, climate-fiction can look to
inform about the risks facing us environmentally. This is an
important issue, and probably something most cli-fi authors
will feel strongly about – but the message should not supersede
the story. It’s crucial that the two live alongside each other,
and you may wish to consider the use of things like motifs,
extended metaphor and analogies to try and make sure the
reader absorbs what you are trying to say without you having
to flat out state it. As Duke Ellington said, ‘You’ve got to find
a way of saying it without saying it…’
Following the science
Now, if you wish to go delving, you will find any number
of papers, reports and formulas that will detail the
environmental trajectory of the world around us. It probably
won’t make for an uplifting evening’s reading, but it is out
there. And you could argue there are two fundamental
approaches to cli-fi – one which is rather more present-
day, or at least near future, and attempts to show climate
incidents in ‘real time’. This is probably harder to do,
as this is going to require a deeper level of research and
understanding where it comes to the science involved. You
may already have that, or feel you only have a few knowledge
gaps to plug, in which case you’re in a great position.
Much cli-fi might fall into a second category of a more
dystopian variety, where we are more likely to see the
aftermath of serious environmental changes, and depict
how humanity has tried to adapt and survive after this
particular cataclysm. In these cases, you may only need a
broader understanding of a serious climate disaster in the
sense that you need to get a grip of the effects and the
aftermath more than you do the actual true causes and
real-time developments.
And let’s not forget a third category yet – cli-fi does not
have to be set on our earth, or even any planet we would
know. You can still very much provide an important take
on these messages with far-flung worlds and dimensions –
flat-out SF, horror and even fantasy can fall under the cli-fi
bracket if done right. As we’ve often said in these pages, the
more fantastical genres can be as powerful a medium to say
something about our own world or society as any – with the
distance from reality, maybe we can be braver and bolder in
what we are willing to say.
Ripple effects
One final thing I want to touch upon here is the need to
consider some of the less obvious and perhaps longer-term
effects of the significant climate changes that may occur
in your fiction. Of course things like global flooding and
massive increases in temperature are bad enough in and of
themselves, but will also have many knock-on impacts on
humanity. Could these things affect how and where we live,
how society is structured, what people do for a living, what
sort of food is available or unavailable? For example, not all
crops could survive in a world where the temperature has
increased. That’s just one small example, but it also raises
another point – while you might think that your cli-fi has to
be absolutely disastrous, catastrophic and grand scale, that
doesn’t always need to be the case. For one, the story could
be more localised to a particular place suffering heavily from
events in the local environment. You could also use that as a
chance to explore the global reaction – what support is given,
or not given, and why.
Equally you might be able to come up with an event that
may seem small at first glance, but has surprisingly serious
consequences – what if a certain insect or animal were to
die out, or a certain crop died away around the world? It
may seem like the sensational visuals of a ‘disasterpiece’ but
could well be a fascinating exploration of the unexpected
impact of what may seem smaller-scale changes in the
world as we know it.
Cli-fi can be seen as a response to unique global conditions
in the current day, though of course we should bear in mind
that these are not necessarily new ideas and that the genre
itself may have more of a canon than may first seem the
case. But as the subject of climate change grows larger and
more urgent, I think it’s fair to assume cli-fi will continue to
explore and dissect it in different ways. I’m happy to predict
that this could be one of the big growth genres of years to
come, especially as we see a younger generation ever more
motivated towards climate action. Whether the genre can
offer any real answers or drive significant change remains to
be seen, but you can argue that beginning a conversation on
the topic is important as a starting point. Keeping in mind
the way that we approach genre in the realm of cli-fi, how
we go about subtly yet strongly getting across our message
in the form and how we approach the scientific elements
of the genre are all important – as, of course, is reading the
books that are pushing the genre forward. And to that end
you’ll find a reading list below to get you started – there are
plenty more out there beyond these, in this already hugely
important genre.
READING LIST
• Margaret Atwood, Oryx and Crake
• JG Ballard, The Wind From Nowhere, The Drowned World
• John Barnes, Mother of Storms
• James Bradley, Clade
• Octavia E Butler, Parable of the Sower
• Omar El Akkad, American War
• Harry Harrison, Make Room! Make Room!
• Frank Herbert, Dune
• Hugh Howey, Wool
• Marjorie B Kellogg, Glimmer
• Cormac McCarthy, The Road
• Nathaniel Rich, Odds Against Tomorrow
• Kim Stanley Robinson, Forty Signs of Rain
• Sherri L Smith, Orleans
• Jeff VanderMeer, Annihilation
• Claire Vaye Watkins, Gold Fame Citrus
DECEMBER 2022 51
P O E T RY W I N N E R S

Stars come out

Alison Chisholm is impressed by the stellar winning entries
in WM’s competition for poems inspired by Shelley

he invitation to Writing Magazine competition for which it was originally drafted.

poets to be inspired by Percy
Bysshe Shelley gave an opportunity
to commemorate the 200-year
anniversary of his death. This
invitation was accepted by writers who celebrated
the people who surrounded him, wrote of the
darker aspects of his life, acknowledged the themes
of his poems and wrote responses to them, or
looked behind the printed word to work out where
poems had begun, and used the same inspiration
to reflect something in their own experience. There
were acrostics and syllabic poems, complex and
straightforward ones, poems that yelled and poems
that murmured.
It’s always useful to read and digest any advice
offered before entering a competition. It was a
shame that one entry of a delightful poem excluded
itself by being all about the wrong poet, with no
reference to Shelley. Several entries would have
benefited from the advice that poems should be
punctuated unless there’s a sound artistic reason
for avoiding punctuation. Sadly, some work had to
be eliminated because it was overpunctuated, with
commas breaking up the phrases in such a bizarre
way that it was impossible to find a logical reading.
There were poems aiming at set forms that lost
the dynamic of the form when they fell apart in the
presentation, metre and rhyme scheme. There were
When everything comes together and some
poems shine out, there is, indeed, a huge sense
of excitement. The winning poem takes its title
from Shelley’s Hymn of Pan. Charlotte Symons of
Presteigne, Powys used the opening phrases from the
third stanza for her two-line title,
I sang of the dancing stars,
I sang of the daedal earth.
The exuberance of the title is carried into
descriptions of winter and summer nights reflecting
the wonders of the universe through focussed and
distinct images. We start with the metaphor of
winter as a cold, hard glitter seen as bright against the
ink-black sky. Its sharpness is summed up in Each
breath a whetted blade. It’s interesting to note that
two of the first three sentences of the poem break
the basic rule of grammar, that sentences should
have main verbs. In most instances, their omission
would be a problem, weakening the writing and
giving it a clumsy feel, but this is a perfect example
of the way the exception proves the rule. There’s a
starkness, a bitterness about these pared sentences
that would have been compromised by a more
flowing approach.
Contrasting this with the start of the second
FIRST
WINNER PLACE

free verse poems that meandered aimlessly, leaving
the reader with the reaction ‘so what was that all
about?’ instead of ‘I’ll never forget that.’
The poems that did not make the grade for this
competition, however, should not be written off. If a
poem is regarded as a work-in-progress until it’s been
checked and revised fully on numerous occasions,
many of the entries in this competition have the
potential to sparkle in magazines or collections in
the future. When you have continued working on
a piece until you sense the excitement the reader
will experience, and you know that every word,
phrase, sentence, line and stanza is flawless – and all
work together to create a spectacular result – your
poem can start a new life in a setting other than the
Charlotte Symons
I sang of the dancing stars,
I sang of the daedal Earth
Even the night has its seasons, deities.
Winter, a cold, hard glitter, bright
against the ink-black sky. Each breath
a whetted blade. Orion straddles
the earth. He’s seen it all, cares
little or less for human strivings.
Hunter among the stars, he’s lost
on a quest all his own, chasing
down the centuries,
hounding the year’s heel.
£100
Summer nights belong to Pan. Soft
as milk and traced with honeysuckle,
the air is velvet. Out in the hay-
scented darkness, mysteries
older than we can believe
wait, patient in their longing
for us to notice, while somewhere,
faint and far-away, a sweet
and wild music tells that despite
everything there is yet still time.

52 DECEMBER 2022 www.writers-online.co.uk

stanza shows how the sounds the words make
influence the atmosphere of a poem. Look at the
mellifluous sentence, Soft / as milk and traced with
honeysuckle, / the air is velvet. This element of the
texture of the poem bears witness to the contrast
between the seasons.
This poem is just twenty lines long, but it paints
distinct pictures through its careful choices of
vocabulary. Orion isn’t immediately above the
earth; the constellation straddles it. The image of the
Hunter is sustained by quest, chasing and hounding.
Summer is evoked through hay- / scented dark, and
animated by sweet / and wild music. At the end of
the poem, there is a distinct slowing down when we
hear that there is yet still time. This is a fascinating
phrase. Yet and still are synonyms ... but both words
have other meanings. Their interweaving chimes
beautifully and fixes itself in the mind.
The free verse is taut and controlled, with plenty
of slant rhymes to keep the poetic quality singing.
There’s assonance in breath / whetted, he’s seen and
wild / despite / time, and consonance in lost / quest
and darkness, mysteries, as well as the alliteration of
hounding / heel and faint / far-away. The effectiveness
of these is heard rather than seen. Try reading the
poem aloud to appreciate all of its sounds.
The poem in second place, The Destination by
Rachel Baum of New York, was prompted by
Shelley’s Ode to the West Wind. There’s an intriguing
series of images running through it, some exhibiting
parallels with the Shelley poem, others with touches
of wry humour and tongue-in-cheek references.
It’s particularly interesting to note how the
rhythms of the two poems synchronise. In the
spoken word, the music and cadences of The
Destination echo and reflect those of Ode to the
West Wind, even though the former is written in
free verse and the latter in five terza rima sonnets,
with full (and occasional slant) rhymes, and iambic
pentameters throughout.
The Destination, like the first prizewinner, relies
on specific wording to produce vivid images. A
line such as Thick crockery pocketing stubs of crushed
Galoises fixes the image with pinpoint accuracy. You
can smell the pine sap scented woods. In response to
the question, yes, you can see the red mottled rock
and churning blue waves, tipped in white froth. You
can feel the washcloth on your burning forehead and
the scalding sunlight.
The opening line is steeped in alliteration, with
the repetitions of r, p and s. There is inspired
vocabulary choice in the adjectives cool and slick that
describe the bathroom floor, selfish that qualifies
illness, and the faulty universe. There’s repetition
of maybe and of Lay, and at the end of the poem,
a rich thread of assonance with rise / sunlight /
kindness in the penultimate stanza and Sift / Into /
selfish illness / this in the last. Again, these add to the
pleasing song of the poem.
There is a vibrant quality introduced by the use
of the imperative mood. The reader is instructed to
Remember / Lay / Feel / Go / Lay (repeat)/ Catch /
Paper / Sift. The instructions are delivered gently, but
they are still instructions. There is no hint that the
reader will refuse to follow them, but will be guided
through the experience of The Destination.
If you have been inspired by reading the
winning pieces, do experiment with writing poetry
concerning the life and works of Shelley, or any poet
of your choice. It’s a delightful seam to explore.
RUNNER UP
Ruth Baum
The Destination (prompted by
Shelley’s Ode to the West Wind)
Remember the Rollins Pond woods, pine sap scented,
Wrapped in Pendleton wool and campfire,
A bathroom floor, cool and slick against your cheek.
Or the cafe in Paris with its triangle of windows,
Thick crockery pocketing stubs of crushed Galoises;
Here at home, the toilet like a shiny moon above your head.
Can you see the deep canyon of red mottled rock,
Hot sand and churning blue waves, tipped in white froth?
Lay the washcloth on your burning forehead, damp and comforting;
Feel the trickle of fluid seeping into your ear,
Tears maybe, or maybe just water.
Go there, to that place, the destination.
Light your goodbyes as votive candles.
Lay them like an offering outside the bathroom door.
Catch the wind and rise
Into the scalding sunlight,
Paper the sky with a memory of kindness.
Sift the birdsong you have saved
Into a corner with your selfish illness,
Here, at the center of this faulty universe.
SHORTLIST
Also shortlisted in WM’s Shelley Poetry Competition were:
Sophie Cockcroft, St. Ives, Cambridgeshire; Zoe Congo,
Leighton Buzzard, Bedfordshire; Bill Lythgoe, Shevington, Wigan;
Wally Smith, Halesworth, Suffolk; Jane Edmonds, Beaconsfield,
Buckinghamshire
DECEMBER 2022 53
 COLD COLD
WINTER

Snow has fallen overnight,

Everything covered
In a carpet of white.
I’m warm and snug,
So I plan to stay
Safe inside
On this cold cold day.
Soon the children
Will come out to play

Crossing the
Making the most
Of their snow
Play day.
Snowmen made
With joy and laughter;
Sadly, they will
Melt soon after.
Next there are
generation gap
Make do sledges Alison Chisholm explores a simple, wintry poem
Disappearing
with equal appeal to both children and adults
From view
Behind the hedges. n the past, there used to be a adults alongside age-specific books, and
I can hear perceived distinction between suggestions in requests for submissions
The screams of joy poems written for young and have offered poets the challenge of
From all the little adult readers. While there writing for the entire readership.
Girls and boys. was always a grey area in the Cold Cold Winter spans the age
How long will middle, with poems that would ranges by having all the simplicity
This carpet appeal to all ages, publishers would and clarity of a children’s poem but
Of white remain, target their books, designing and viewed through the perspective of an
No doubt to disappear marketing them to the different age adult narrator. The narrator is not
As fast as it came requirements of readers. taking part in the snow games, but
On this cold cold More recently, though, there have imagining the children’s engagement
Winter’s day? been moves to publish anthologies with them, and thinking ahead
that cater equally for children and to the thaw to come. The dual

54 DECEMBER 2022 www.writers-online.co.uk


appeal, to child and adult, increases
the poem’s potential. It could be
accepted for a book that is directed
to either age band, while it might
also be considered for the less age-
specific anthology.
Sue Brotherston of St. Helens,
Merseyside wrote her poem in
response to an exercise set in the
poetry group she attends. The
poem came to her easily, and the
rhythm helped it to flow along.
She describes a childhood conflict
of interest regarding its theme. ‘I
never liked snow after it began to
freeze and then thaw,’ she says, ‘but
loved building snowmen, and there
was always a sense of fun. When
the snow began to thaw, all you
were left with on the ground was a
carrot and perhaps a scarf, yet we
did it again and again.’
This simple pleasure, repeated just
about everywhere weather permits,
has been celebrated in poetry many
times before, putting pressure on
writers to find something new to
say about it. The experience is
common to many. The reaching
for originality is difficult. For Sue,
channelling the whole story into
the realm of anticipation gave
an opportunity to find a slightly
different slant. Anticipation moves
from the prospect of making a
snowman to the idea of ‘make do’
sledges, evoking images of tea trays
and boards of wood, with their more
homely feel than a proper sledge.
This brings a promise of more
delight for the children, while the
eventual disappearance of the snow
provides the final cameo.
There’s a gentle, feel-good air
about Cold Cold Winter that fits
in with the poet’s experience. Sue
tells how she has always loved
reading and writing poetry, with a
preference for rhyming work, and
explains that she became something
of a performance poet. Whenever
someone was retiring or leaving
the workplace, she’d be called upon
to write and deliver a poem to
commemorate the event. She adds,
‘I was classed as the resident poet,
which made me laugh, but it did
give me access to all the parties –
and of course the buffet! I have also
written poems for family events,
both happy and sad.’
The vocabulary she selects in
this poem works well for younger
readers. Plain, concrete words draw
the clearest pictures, and they are
built into simple sentences. The
descriptions of the immediate snow
and anticipated activity are easy to
follow without the slightest chance
of confusion, so even the youngest
children who are still coming to
terms with the mechanics of reading
can enjoy the narrative. Meanwhile,
the undercurrent of the pending and
inevitable disappointment adds a
dimension that touches adult readers.
Sue’s love of rhyming is apparent
in Cold Cold Winter. This is achieved
even while the wording is natural
and unforced. The very close slant
rhymes being used in joy and boys,
and also remain and came, ease the
naturalness of expression still more.
The one point the poet might
consider is to avoid using the same
rhyming sound twice, particularly
when the occurrences come close
together. Near the beginning of the
poem, the rhyming of stay and day
is followed immediately by play and
day, producing repetition as well
as rhyme, and with an additional
‘Play’ before the latter. A minor
adjustment here would prevent
overuse of the sound, something
that can glare at the reader.
The presentation of this poem
is interesting. Rhythm and rhyme
would both suggest that the poem
would appear in lines of regular
length, but there’s a shifting in the
lengths that adds an edgy quality
to the reading. This edginess
isn’t enough to disturb the gentle
descriptive nature of the poem, but
provides the slightest tweak, a form
of barely perceptible syncopation.
The line length adjustments mean
www.writers-online.co.uk
P O E T RY W O R K S H O P
that it becomes more important
than ever to consider where to
place a line break. The usual rule
– at a strong, significant word or
where there’s a natural hiatus in the
phrasing – doesn’t always work with
such very short lines. The easiest
way to manage the issue is to write
in longer lines, but here the poet has
avoided that rather trite solution.
To retain the line break pattern,
she has clearly weighed up the
alternatives and placed the breaks as
sympathetically as possible.
Although the poem has been
written in anticipatory mode, Sue
has managed to infuse it with
imagery to help fix its scenes in the
mind of the reader. The obvious
images are rooted in the senses of
sight and sound. We see the carpet
of white and hear ‘Screams of
joy’. But the sense of touch is also
present in ‘warm and snug’, and
the whole presence of snow implies
both cold to the touch and a scent
of crispness in the air.
When asked how poetry fits
into her life, Sue points out that
she is a keen reader of poetry,
particularly liking humorous work
and poems that stir the emotions
and remain in the memory. She also
enjoys hearing poetry read aloud,
particularly by its author. As well
as enjoying reading, she’s a prolific
writer. The anticipated observations
we see here fit in with her delight
in people watching. As one who
always carries a notebook and pen,
she likes to jot down overheard
comments alongside her notes
about the people she sees.
As Cold Cold Winter
demonstrates, any notes that
are made need to be fused with
imagination and then processed
and developed before they emerge
as a poem, and Sue has had plenty
of practice. During lockdown, she
wrote a poem a day for 100 days,
in addition to keeping a journal
and a diary. That’s dedication.
DECEMBER 2022 55
P O E T RY L A U N C H
FILTER YOUR FAVOURITES
Alison Chisholm launches WM’s popular annual Open Poetry Competition
with advice on not being blind to a favourite poem’s flaws
he Open Competition gives poets an opportunity
to allow their favourite, most treasured poem an
airing, knowing that without the restriction of a
set form requirement or the need for a particular
theme, that precious manuscript will have its
moment of glory. The trouble is, a favourite poem is not always
the best poem; and competition success demands the best.
So how can you be sure that you are not confusing fondness
and quality? Ask yourself these questions, and be honest with
the answers.
WHY DO I LOVE THIS POEM SO MUCH?
If the answer is because it’s about the happiest time of your life,
because inspiration swamped you and it was the easiest poem
you’ve ever written, or because it arrived intact and needed no
revision, be very wary. You might be so in love with the subject
or the way it came to you that you are blind to its faults. It
happens to all of us. If the answer is because you managed
to say exactly what you wanted to say, and you’ve worked to
ensure that every aspect of the poem is as good as it can be, it’s
worth considering.
HAVE OTHER PEOPLE PRAISED THE POEM SO MUCH
THAT THEY’VE MADE IT MY FAVOURITE?
It’s always flattering when others say lovely things about your
writing, but it’s important to keep your feet on the ground
when they do. If the people involved are your nearest and
dearest, their judgment could be affected by their feelings for
you. If they are members of a writing group, think about the
quality of their work and the success rate of the members before
you believe everything they say.
IS THERE AN ORIGINAL SUBJECT, OR AN ORIGINAL
TREATMENT OF A FAMILIAR SUBJECT?
A key objective in the content is to make the adjudicator’s
reaction either ‘I’ve learned something new’ or ‘I’d never
thought of it like that before’. Originality of theme and/or
treatment takes you a good way along that route.
IS THERE ANY OBVIOUS FLAW IN MY POEM?
The kneejerk reaction is to answer this one with a resounding
‘No!’ – but think about it. Could there be a typo that’s gone
unnoticed? Does one of your lines of iambic pentameter have
six feet? Have you applied grammar perfectly but ended up
with a sentence lacking a main verb? When you know the
poem well, the eye can slide over such imperfections so that
they slip by undetected.
It’s worth reading line by line from the screen to check for the
little faults. It’s worth taking the time to print out your poem so
that you see it in a different medium, and run your finger along
56 DECEMBER 2022 www.writers-online.co.uk
Submit b
15th Januay
ry.
Prizes are
£100 & £50
See page
for full deta62
the lines, making sure you read every ils
word. There might be something you didn’t
see on the screen.
It’s worth reading the poem aloud to listen to every nuance of
sound it makes. There might be something the eye didn’t pick
up, but the ear does. When competition is fierce, the tiniest
hiccup can reduce the chance of a win.
HAS MY FAVOURITE POEM BEEN THOROUGHLY REVISED?
Particularly if it arrived in a flash of inspiration, there is always
a risk that revision might have consisted of skimming the
surface rather than checking in depth. Although this question
is allied to the previous one, it takes in more than the simple
flaws, considering the overview of the piece as well as the
minute details.
Just as an astute poet thinks of the reader during the
construction of a poem, so an astute competitor thinks of the
adjudicator while it’s being written. Will they need an intimate
knowledge of the poet’s family, a degree in astrophysics or a
working knowledge of classical Greek to understand what’s going
on? Poems we’ve written can become our favourites because they
deal in material that is well known and important to us. There is
no guarantee that the adjudicator will be equally au fait with the
contents. A poem can be enhanced by intriguing complexity, but
it’s diminished by bamboozling obscurity.
WILL MY POEM BE MEMORABLE?
Will it stand out from the crowd? When the adjudicator is
reading ten or twenty or fifty poems at each sitting, a few will
have an indefinable wow factor that fixes them in the mind.
At a second read-through, one glance at the title will remind
the judge of the intensity of the poem’s message and delivery. If
your poem has the wow factor, it’s half way there.
HAVE I WRITTEN ANYTHING BETTER?
The final question seems the most obvious, and it has the
shortest answer. If you have, that’s the one to send. The advice
to ‘murder your darlings’ may sound unnecessarily ruthless, but
if you want to win that’s the degree of ruthlessness you need.
When you are certain that you have differentiated between
your favourite poem and your best, give the final choice an extra
dust down and tidy up before submitting it for the competition.
Think of all the other people who are planning to enter.
Every one of them will have been on a similar journey,
taking care to select the best poem they can, to polish
and cherish it, and to submit it only
when they know it has the potential to
be the winner. If your poem is to win, it
has to be better than all of them.
Good luck.
NEW AUTHOR PROFILE
Neil
Alexander
The debut author tells Adrian Magson how
redundancy and rejections only made him more
determined to get published
ome stories take a long time to get out onto the
paper. But that’s not necessarily a bad thing. If we
take Neil Alexanders’s example, then 15 years was
what it took – and that has paid of handsomely
with The Vanishing of Margaret Small (Bonnier/
Embla Books), published in November.
A part-time teacher from Whitstable in Kent, Neil’s
laudable efforts have produced a historical mystery with
a dual timeline. Margaret, 75, is a major Cilla Black fan
who, shortly after the singer’s death, begins receiving sums
of money signed ‘C’. She’s convinced it must be the late
Cilla B – but how is that possible? To find out, she has to
journey back in her memories almost 70 years, when she
was ‘vanished’ to a long-stay institution for children with
learning difficulties.
‘The novel was inspired,’ explains Neil, ‘by voices and
stories I heard working for Mencap, the disability charity.
One such was a woman who had spent 30 years in an
institution. My hometown, Whitstable, to where I moved
back after 20 years in London, was also a major influence
on the book. It is where the story is set.
‘The initial idea really only began when I started an OU
Creative Writing course in 2009, and Margaret’s voice began
to develop. Before that I’d had a few poems published in
magazines (I was shortlisted for the Pighog Poetry Prize back
in 2013!) and was reading at a Polaris event at the Royal
Festival Hall when I met debut author S.J. Watson. He wrote
Before I Go to Sleep, which became an international bestseller
and a film starring Nicole Kidman.
‘He told me about the “Faber Academy Writing A Novel”
course. Unfortunately I didn’t have the means to pay the
fees. In 2013, I was made redundant, which was a major
blow. I felt powerless and an outsider, but talking to others
who all encouraged me to view it as an opportunity to do
something different, I decided to apply to do the course.
Luckily, I secured a place and vowed to complete the first
draft of the novel before my 40th birthday in 2014.
‘One short course I found particularly useful was the
Curtis Brown “Edit and Pitch Your Novel”. It really helped
me nail down my synopsis and think about my work in
relation to the commercial market.
‘After finishing the book, I submitted it to a handful
of agents. Rejections followed. By this point, I’d started
www.writers-online.co.uk
teacher training, so I put the novel on the back burner
while I earned a living. Then, in the summer of 2019, I
started redrafting the original manuscript, sending it to a
small list of agents. Within hours, I had a major literary
agency in London saying they were hugely excited by the
partial and could they see more.
‘Further interest followed, and I eventually signed with
Rowan Lawton at The Soho Agency. Rowan and I spent
a few weeks polishing the draft and in October the novel
went to The Frankfurt Book Fair, where – within 24 hours
– we had a seven-way auction in Italy. Shortly after that,
Germany made an offer, but then things ground to a halt in
the UK with over 45 rejections from editors.
‘I was therefore in the odd position of having a debut novel
which had sold in translation, but not in its original language!
‘I was disappointed, but during the first lockdown in
2020, I managed to write the first draft of a second novel.
Then in December 2021, my agent contacted me to say
she’d had interest in the first book from a UK publisher.
I was over the moon, and in March the following year,
I signed a two-book deal with Embla, an imprint of
Bonnier Books UK.’
Neil’s next project is a dual timeline historical mystery set
in 1980s Belfast, where he grew up.
NEIL’S TOP TIPS
• Make time for your writing.
• Short courses like Curtis Brown’s ‘Edit and Pitch Your Novel’
will teach you tricks of the trade, and introduce you to a
community of like-minded, aspiring writers.
• Avoid sending round-robin submissions of your novel.
Research agents and their interests, make a hit-list of no
more than five, tailoring each one. Be prepared to wait
for a response.
• Rejection is part of the process (I’ve lost count of mine).
The trick is to keep going.
DECEMBER 2022 57
 Simon Whaley chats to one of Hallmark’s writers to explore writing for the greetings card market
T
he UK might be the second biggest greetings card
market in the world, with a value of around £1.5
billion, but we Brits send more greetings cards
per person than any other nation. In 2020, we
sent 835 million cards. That’s a lot of cards. It’s also a lot of
words inside those cards.
As writers, we’re good with words. Poets, in particular,
may just have the right way with those words to produce
a verse or statement that captures the thought, message, or
sentiment that a greetings card needs to convey. So how easy
is it to break into the greetings card market, and could it
prove a useful income stream for our writing business?
Melvina Young is a senior writer at Hallmark Cards in the
USA, the oldest and largest greetings card manufacturer in
America. With an academic writing background, Melvina
has a master’s degree in African-American studies and
teaches women’s studies and black history at the University
of Wisconsin.
‘I came to Hallmark because, as I researched other jobs, it was
clear that I could keep making a good difference in the world
through writing,’ she explains. ‘I still get to help people make
those important connections, but on a more intimate level.’
Connecting through cards
That’s the power of a greetings card. It connects two or more
people, emotionally, through words and sometimes images.
‘I hadn’t really thought of myself as a creative person
before,’ Melvina continues, ‘but I have always been a
deeply empathetic person who could write well, especially
in capturing emotional experiences. I was able to bring my
academic skill set – listening, learning, researching, writing,
refining, and crafting – into this deeply creative, curious,
innovative, intellectual, and emotionally intelligent space.’
For Melvina, writing greeting card messages is all about
connecting people.
‘Every day I get to think about how human connection
looks, how it works, how it acts, how it shows up in our lives,
how it enables us to carry each other through, and how it
makes life a wondrous thing to live.’
‘When a child is born, I get to help someone say,
“Congratulations on one of the most beautiful things that
will ever happen in your life.” When someone marries, I get
to help someone say, “You chose this person and now you’ll
build something beautiful and unbreakable together.” When
58 DECEMBER 2022 www.writers-online.co.uk
life is hard, I get to help someone say, “This is hard. But I see
you. I’m with you.” And when life delivers the heartache that it
inevitably must, when the loss is immeasurable and unmatched,
I get to write for the uniqueness of each person’s grief.’
There are several ways in which Hallmark develops its
greetings card ideas. Occasionally, their editorial partners
stipulate what they require, and other times, there are
collaborative sessions with other writers.
‘Sometimes,’ Melvina explains, ‘the ideas come from me.
I’m constantly people-and-culture watching, researching;
learning about relationships; and figuring out how the big
things we go through – the pandemic, for instance – show
up in people’s emotional lives. I get to ask myself what that
experience is like and what it might leave someone needing
emotionally. What’s important to me is that I always start
with the real person and the authentic experience.’
Greetings groundwork
It’s possible to write greeting card messages as a freelance,
and just like any writing market, thought and research will
pay dividends.
‘The first thing I would say,’ suggests Melvina, ‘is to learn
your market. For instance, do you want to write for the UK
or for the US market? Do you want to write for a bigger
company like Hallmark, or a smaller, niche company?’
‘The next part sounds elementary, but do your research,’
she continues. ‘See what companies are already doing,
investigate what their writers are doing well. Try your hand
at emulating that. Then look for where you might improve
on what they do or offer them something new.’
Here in the UK, the Greeting Card Association is the
official trade body of the sector and represents over 400
members, including the big names like Hallmark, Ling
Design, Noel Tatt, and Woodmansterne. It’s a great starting
point for exploring the market, getting website addresses,
and contact details.
Many greetings card publishers include submission
guidelines on their websites. Look out for Artist Submissions,
where both visual and written requirements are available.
A great way of following Melvina’s advice to see what
companies are doing is to visit one of the trade shows that
take place in London, Birmingham, or Harrogate, throughout
the year. It’s the perfect opportunity to learn current market
trends and potentially make contact with businesses.

Research relationships
Part of researching the market involves reading the many
verses and comments within cards, and then analysing how
and why they work. Melvina recommends thinking about
the essence of the idea behind why the card is being sent in
the first place.
‘A card tells the story of the relationship between the
giver and receiver. The words not only have to convey what
the giver really wants to say, but they have to make the
recipient feel seen and known, too. In fact, the recipient
needs to feel like the card has been written just for them.
The trick of it is the writing must make thousands of
recipients feel like they’re the only one.
‘In other words, when I write a romantic love card, it has
to feel authentic enough that when someone gives it to their
partner, the recipient feels like the card has been written just
for them and the words are actually coming from the giver.
Easy, right? And that writing has to make the ten thousand
other recipients who get the same card feel the same way.’
Melvina offers this insight about writing cards. ‘A lot
of what you write will feel general, but must still be
specific enough to make the card feel real and relevant to
a lot of people. So, I suggest that serious writers in this
format focus on understanding relationships; sharpen
your empathetic skills; work on your craft; learn to write
at different levels from simply said to elegantly stated.
Pull from the people and culture around you so that your
writing is authentic as possible.’
Connections, not cheese
Like all great writing, what reads as being quite simple is, in
fact, hard work. A common misconception Melvina often
comes across is that greetings card verses are a little tacky.
‘We often hear people calling a card “cheesy”, when what
they really mean underneath is that cards are emotional.
Greeting cards help people connect. They support and
nourish real relationships. And they can become keepsakes of
our sweetest and most important moments with people we
love. Emotions are wonderful things but can make people
feel uneasy. Some have a hard time expressing emotion.
Ironically, that’s what greeting card writers help with!’
‘Think about the last card you chose for your mother,’
Melvina says. ‘Did she think it was cheesy? Or did she love
it? Or the last meaningful message you gave your lover. Did
that message matter? The last sympathy card you sent. Did
it offer comfort to the person you sent it to?
‘It’s funny to me that a huge stereotype of greeting card
writing is that we write trite or cheesy little verses. But I
don’t really write verse much. I’m a much stronger prosaist.
My writing can have a lot of rhythm and even some interior
rhyme, but I don’t do traditional verse. I go for deep
emotional meaning and cultural relevance.’
Every genre of writing is its own skill, and writing for
the greeting card market is no different. Even though the
message might be simple, there’s a huge skill in choosing
the right words and selecting the right place to put them.
www.writers-online.co.uk
THE BUSINESS OF WRITING
Real writing
As Melvina points out, ‘One of the reasons that greeting card
writing can get less respect than other writing gigs is that the
writing has to sound like the real language people use in real
life to express their feelings. That can make it sound less lofty
than other writing and make it appear as though not much
work or thought goes into it. But there is a range of greeting
card writing. From quite lofty to cards that sound “ordinary”
because of the hidden craft of talented writers.
‘Many of the people I work with are published poets,
novelists, children’s book writers, playwrights, and
songwriters. They bring that same talent and accomplishment
to writing in the greetings card space, to create cards that
resonate deeply with the people who trust Hallmark to help
them nurture relationships.’
It’s also worth remembering that the greetings card market
is vast. It’s not just the key annual events, like Christmas and
birthdays, but it’s a wealth of life events, too.
‘We don’t just write one thing as greeting card writers. We
write beautiful sentiments from romantic love to celebrating
birthdays and holidays. We write humour, from puns to quirky
takes to laugh out loud humour. We write for the joy of birth
to the sorrow of losing someone in death.’
If you’ve a skill for capturing thoughts and emotions in
a clear and succinct way, perhaps the greetings card market
could be a useful outlet for your creativity. And who knows?
This time next year, people could be buying Christmas cards
containing your words because they convey exactly what they
wanted to say, but couldn’t put it into words themselves.
Business directory
• Melvina’s top tip
‘Think about this job as more
than just sitting down and getting
a few cute words on the page.
Understanding what greeting cards are
meant to do and honing your craft is important. Always
ask yourself if what you’ve written does the emotional
service for the relationship you’re thinking about.’
• Further information
UK Greetings Card Association:
www.greetingcardassociation.org.uk
January and September: Top Drawer (London):
www.topdrawer.co.uk
February: Spring Fair (Birmingham):
www.springfair.com
June: Progressive Greetings Live (London):
www.progressivegreetingslive.com
July: Home and Gift Fair (Harrogate):
https://homeandgift.co.uk
September: Autumn Fair (Birmingham):
www.autumnfair.com
DECEMBER 2022 59
RESEARCH TIPS
Newspapers
Newspaper archives are a goldmine for writers to explore in their research, says Tarja Moles
ewspapers, whether national dailies or
local weeklies, can be real treasure troves
for research and help writers tap into
both current and historical matters.
Content
When you start your research, identify whether it’s the
national, regional and/or local papers that are most
likely to give you the information you need. Also
consider whether you’d like to consult broadsheets
and/or tabloids. After this, decide which newspaper
section(s) might be the most suitable. News stories are
the most obvious reason to research newspapers, but
they also contain other types of content that may give
you surprisingly useful information.
Family notices, such as those relating to births, deaths,
marriages and anniversaries, can be helpful for family
history research. Obituaries contain information on
notable people. Such information can be used for family
and local history research as well as in biographical
writing or as prompts for creating fictional characters.
Letters to the editor can expose much about the
society and local communities: they reveal what kinds
of social debates are going on and what people’s
opinions, attitudes, aspirations and anxieties are.
Advertisements, including classifieds, give you an idea
of what kinds of goods and services were offered at a
given time. They can also give you glimpses into past
fashions, trends and prices.
Illustrations, such as editorial cartoons, photographs,
graphics and maps, show visual material about what’s
happening in the world.
Supplements tend to offer more in-depth articles
about topical subject matters. They cover a variety of
topics, such as business, sports, literature and food.
60
SEPDECEMBER 2022 www.writers-online.co.uk
Finding newspapers
These days most current newspapers have digital
editions and their past issues have either already been
digitised or are in the process of being digitised. This
is great news for researchers as we may not need to go
any further than our computers to access newspaper
material. You can find newspaper sites by doing online
searches. Alternatively, browse www.newspapersintheuk.
com for UK-based papers and www.onlinenewspapers.
com for papers around the world.
There are certain issues with accessing newspapers
directly online. Firstly, it’s not possible to read all the
newspapers for free as some have paywalls. Secondly,
although some papers let you read their current content
for free, they might not have their historical issues
online. Thirdly, if you want to explore the actual paper
editions page by page and view the layouts, ie not just
read the news articles, most newspaper sites don’t cater
for this. This is where using newspaper archives – both
physical and digital – come in handy.
Many libraries hold newspaper collections or allow
their ticket holders to have remote access to digital
newspapers. For example, Devon Libraries offer free
access to current e-newspapers via a library reading
app called Libby. They also let their members use
NewsBanks, a news database containing archives of
local, regional, national and international papers. You
can find out what your local library offers by checking
out its website.
If your local library is not able to cater for your
needs, try the British Library’s newspaper collection
(www.bl.uk/collection-guides/newspapers). It’s the
largest collection in the in the world and holds over
34,000 titles (which amounts to 60 million individual
issues) from the UK and overseas. It contains issues
from as the early as the 17th century, and the collection
is fairly comprehensive from the 1820s onwards.
There are also research libraries that hold
newspapers relating to their specialist areas. For
example, SOAS University of London has Asian,
African and Middle Eastern newspapers (https://
writ.rs/soas).
Depending on the library you’re using, you
may be given the material as hard copies, on
microfilm/fiche or via electronic databases. If
you’re not familiar with how to use these kinds of
equipment, ask a librarian/archivist to help you.
Finding material in newspapers
If you want to browse newspapers and get an
overview of a historical time period, it’s not that
tricky to find the content you want. However, if
you’re after something specific, things may not
be quite as straightforward: not all newspaper
content in archives and libraries may be
catalogued.
One way round this is to use newspaper indices.
Find out which indices your library subscribes
to and see whether these would be of help. Large
national newspapers tend to be indexed while
small local papers might not be, unless the local/
regional libraries have their own indices in place.
Another way round this problem is to use a
digital newspaper archive. Such services not only
provide a search engine for locating material, but
also show the full, original images of the pages.
Digital newspaper archives
The British Newspaper Archive (www.
britishnewspaperarchive.co.uk) is a partnership
between the British Library and Findmypast and
its purpose is to digitise millions of newspaper
pages from the British Library’s huge collection
and to make it available online. Currently it
contains over 56 million pages dating from
the 1700s. Unless you can visit the British
Library, this digital archive is the best option for
newspaper research.
You can search its database and see the list
of results for free, but you need to subscribe to
view the actual pages. If you don’t want to pay,
you can do your preliminary research there and
then access the newspapers elsewhere. Another
relatively cheap option would be to do your
searches beforehand and only subscribe for a
month when you’re ready to start viewing and
downloading the pages that are of interest to you.
Enjoy your research journey!
To find more historical newspaper archives,
visit https://writ.rs/blres
Behind the tape
If you have a
Expert advice to get the query for Lisa, please
details right in your crime send it by email to
lisacuttsenquiries@
fiction from serving police gmail.com
officer Lisa Cutts
Q I have a scenario where one person in the house is
murdered and another survives. What happens to the
injured person once they’re released from hospital? Do the
police find them somewhere to live? Will they be able to get
items such as clothing from the house?
Do the police leave the blood at the scene or is that cleared
up before anyone is allowed back in the house?
Anne Roth, via email
A It really depends on whether the person has somewhere else
to stay or would otherwise be homeless. The police would only
put them up temporarily, perhaps for one night in an emergency. For
anything long term, this would be a case for the local authorities.
If there is any concern over the person’s welfare, for example,
the murderer hasn’t yet been arrested, then the police should be
safeguarding them. Once the crime scene has been examined, a
few personal items may be removed, but this would be done by the
police. They wouldn’t allow the victim to return before the scene was
completely released and this is likely to take many days.
The police call in ‘scene cleaners’ if the house is particularly
distressing. Some of the bloodstained items, such as a mattress, rug
or segments of a carpet, may be taken away by the Scenes of Crime
Officers for forensic examination, so this could negate the need for
this to happen.
Q Does a body have to be identified by the next of kin?
Could it be a neighbour or a colleague?
Marian Lake, via email
A If there was no family to identify the person, then, yes, a
neighbour or colleague would be able to do it. The person
would need to formally identify the deceased and make a short,
signed witness statement, therefore avoiding any complications at a
later date. There are instances where the person can’t be physically
identified, in the case of arson, for example, and DNA samples
would clarify who the person was. All of the circumstances should
be taken into account, such as when the person was last seen alive
and any activity on their bank account or mobile phone.
Lisa Cutts is a crime fiction author and retired detective sergeant, having spent
most of her career within the Serious Crime Department. She has returned to
work as an Investigating Officer on historic crimes. Her novels are published by
Myriad and Simon and Schuster.
 Competition rules and forms
How to enter
Competition Rules
1 Eligibility
All entries must be the original and unpublished work of the
entrant, and not currently submitted for publication nor for any other
competition or award. Each entry must be accompanied by an entry
form, printed here (photocopies are acceptable), unless stated.
Open Competitions are open to any writer, who can submit as many
entries as they choose. Entry fees are £7.50, £5 for subscribers.
Subscriber-only Competitions are open only to subscribers of
Writing Magazine. Entry is free but you can only submit one entry
per competition.
2 Entry Fees
Cheques or postal orders should be payable to Warners Group
Publications or you can pay by credit card (see form).
3 Manuscripts
Short stories: Entries must be typed in double spacing on single
sides of A4 paper with a front page stating your name, address, phone
number and email address, your story title, word count and the name
of the competition. Entries will be returned if accompanied by sae.
Electronic entries should be a single doc, docx, txt, rtf or pdf file with
the contact details, etc, on p1, and your story commencing on the
second page.
Poetry manuscripts: Entries must be typed in single spacing with
double spacing between stanzas on single sides of A4. Entrant’s name,
address, telephone number and email address must be typed on a
separate A4 sheet. Entries to poetry competitions cannot be returned.
Electronic entries should be a single doc, docx, txt, rtf, odt or pdf file
with the contact details, etc, on p1, and your poem on the second page.
All manuscripts: Receipt of entries will be acknowledged if
accompanied by a suitably worded stamped and addressed postcard.
Entrants retain copyright in their manuscripts. You are advised not to
send the only copy of your manuscript. Enclose an sae if you want your
manuscript to be returned.
4 Competition Judging
Competition judges will be appointed by Writing Magazine and the
judges’ decision will be final with no correspondence being entered into.
5 Notification
Winners will be notified within three months of closing date after
which date unplaced entries may be submitted elsewhere. Winning
entries may not be submitted elsewhere for twelve months after that
date without permission of Writing Magazine who retain the right to
publish winning entries in any form during those twelve months.
Enter online at www.writers-online.co.uk or by post, with the ref code in the address,
to: Writing Magazine Competitions (Ref Code xxxxx), Warners Group Publications,
West Street, Bourne, Lincolnshire PE10 9PH. Remember to add a front sheet with full
contact details and the name of the competition you are entering (see Rule 3)
• Open short story competition
(see p27)
For short fiction in any style or genre,
1,500-1,700 words; entry fee £7.50,
£5 for subscribers, closing date 15
January. Ref code: Dec22/open
• Creative non-fiction competition
(see p27)
Creative nonfiction, 1,500-1,700
words; entry fee £7.50, £5 for
subscribers; closing date 15 December.
Ref code: Nov22/cnf
Competition Entry
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• Open poetry competition (see p56)
For poems in any style or genre up
to 40 lines; entry fee £7.50, £5 for
subscribers, closing date 15 January.
Ref code: Dec22/openp
• Epistolary short story competition
For short stories in any genre in
epistolary format, 1,500-1,700 words;
free entry, subscribers only; closing
date 15 December. Ref code: Nov22/
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CLASSIFIED ADVERTISE HERE Contact Mark Dean
Tel: 01778 395084 or email: mark.dean@warnersgroup.co.uk

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www.writers-online.co.uk DECEMBER 2022 63
 Your essential monthly round-up of competitions, paying markets,
opportunities to get into print and publishing industry news.
Get discovered!
The Discoveries 2023 writer
development programme from The
Women’s Prize Trust is inviting entries
from aspiring women novelists.
Now in its third year, Discoveries is
a development programme aimed at
discovering talented and original new
female writing voices in the UK and
Ireland. It is run as a partnership between
The Women’s Prize Trust, Audible, Curtis
Brown literary agency and Curtis Brown Creative.
Prizes will be given for novel manuscripts by unpublished writers in any
adult genre. Submit the first 10,000 words and a synopsis between 500 and
1,000 words. Novel manuscripts do not have to be completed.
The winner will be offered representation by Curtis Brown and £5,000.
All six shortlisted writers will be offered a mentoring session with a Curtis
Brown agent and a free place on a six-week Curtis Brown Creative online
course. One writer will be named ‘The Discoveries Scholar’ and win a free
scholarship to attend a three-month Curtis Brown Creative Writing Your Novel
course. All sixteen longlisted authors will receive a bespoke two-week online
Discoveries Writing Development Course taught by Charlotte Mendelson.
This year’s judges are Kate Mosse, Anna Davis, Lucy Morris, Chibundu
Onuzo and Kiran Millwood Hargrave.
Entry is free. The closing date is 15 January 2023.
Website: https://www.curtisbrowncreative.co.uk/discoveries-2023
JOIN
THE
DOTS
Win $100,000 and publication in the Nine Dots Prize 2022/2023 in this
contest for creative solutions to contemporary problems in society.
Now in its fourth cycle, the Nine Dots Prize was established in 2016 to
reward innovative thinking that provides creative solutions to issues facing the
modern world.
Entrants are invited to send a 3,000-word response to a question. This year’s
question is: ‘Why has the rule of law become so fragile?’
The winner will receive $100,000 to expand their response into a short
book of between 25,000 and 40,000 words for publication with Oxford
University Press.
To enter, submit the 3,000-word response, an outline of how the idea could
be expanded into a short book, and a justification of your ability to complete
the book within a given time.
Entry is free.
The closing date is 23 January 2023.
Website: https://ninedotsprize.org/
64 DECEMBER 2022 www.writers-online.co.uk
NOVELS MATTER
The 2022 Exeter Novel Prize is inviting entries.
Win a £1,000 first prize in the competition for
unpublished novels by unrepresented authors
The Exeter Novel Prize is an annual award
from Creative Writing Matters, which is given for
the first 10,000 words of an unpublished novel
manuscript by an author who is not currently
represented by a literary agent.
There is a first prize of £1,000 and five runners
up will each receive £100. The final judge will
be literary agent Hellie Ogden from Janklow and
Nesbit UK.
To enter, send the opening of the novel and a
synopsis not longer than 500 words. The total
word count must be no longer than 10,000 words.
Novel manuscripts may be in any genre, including
children’s and YA. All entries must be original and
unpublished.
The entry fee is £20.
The closing date is 1 January 2023.
Website: http://www.creativewritingmatters.
co.uk/2022-exeter-novel-prize.html
Poets,
don’t
Ms out
Win a £2,000 first prize in the Mslexia Poetry
Competition 2022 for single poems.
The competition is inviting entries of original,
unpublished poems of any length, on any subject,
by writers who identify as women.
The first prize is £2,000. The second prize is
£500, and the third £250. There is also a £250
Unpublished Poetry Prize for the best poem by a
previously unpublished poet. The winners and six
additional finalists will have their poems published
in the March issue of Mslexia. This year’s judge is
Helen Mort.
There is an entry fee of £10, which allows each
writer to submit up to three poems.
The closing date is 5 December.
Website: https://mslexia.co.uk/
 WRITERS’ NEWS

US MAGAZINE MARKET
A scientific approach
Gary Dalkin

Discover Magazine is a US bimonthly
popular print magazine and website
covering science, technology, mind, health
and the environment. The editorial team is
looking for stories that enlighten, inform
and get readers excited about science. A
great Discover story should be grounded
in research with a strong narrative and an
accessible, conversational tone. The ethos is
that science is for everyone.
The print mag has seven columns,
each of which require an approximately
1,200 word article each issue. See the full
guidelines at www.discovermagazine.
com/pitch-guide for details about
each, but they are: Vital Signs –
Medical mysteries (pitch Alex Orlando,
aorlando@discovermagazine.com);
Planet Earth – Nature, geology, flora,
fauna, glaciers, fossils (Marisa Sloan,
msloan@discovermagazine.com);
Piece of Mind – personal experiences of
psych/neuro research (Timothy Meinch,
tmeinch@discovermagazine.com);
History Lessons – forgotten moments
and individuals in science (Elisa Neckar,
eneckar@discovermagazine.com);
Origin Story – new research that changes
our understanding of the past (Elisa
Neckar, eneckar@discovermagazine.
com); Out There – planetary science,
astrophysics, cosmology (Steve George,
sgeorge@discovermagazine.com); Tech
Note – new technologies and how they’ll
impact us (Steve George, sgeorge@
discovermagazine.com).
For feature pitches between 1,800-3,000
words email editorial@discovermagazine.
com. Tell a compelling story with
interesting characters grounded in current
science. When pitching include ideas for
additional content such as photos, art,
sidebars or infographics. Also required are
feature-length Q&As with researchers and
scientists which balance their work with
personal insight.
For the website the editorial team are
looking for short feature stories between
600 and 1,000 words. Stories should offer
a new angle on current developments or
explore a subject that will remain relevant
for readers over a longer period of time.
Your piece might focus on a body of
research, examine trends in science and
the world at large, offer historical context,
or serve as helpful explainer. Be fresh
and thought-
provoking.
Send your
pitch to Erin
Berge: eberge@
discovermagazine.com.
Recent stories have covered Secrets of
the Vikings, How Fonts Affect Memory
and a look at New Sustainable Materials
for the Future.
Essential to follow the full guidelines (see
above) before submitting any pitch.
Payment starts at $1 US per word
for the magazine, or around $300 for
the typical online story. For all pitches,
keep it short, with one idea per email.
Explain what the science is, what’s new
about it and why it will interest readers.
Outline your credentials to write the
story, including information about your
science writing background (if any) and
include links to two or three of your best
articles, a link to your website, portfolio
or social media as appropriate. Don’t send
completed articles.
Follow on Twitter @DiscoverMag/
Facebook https://www.facebook.com/
DiscoverMag

First’s first faces Amazon adjustment Ditmar winners

Unbound is an online crowdfunding
publishing system akin to Kickstarter,
but specifically for books. Last year the
platform launched Unbound Firsts,
dedicated to publishing, ‘two debut
books from talented writers of colour
every year’. The inaugural titles, to be
published in June 2023, are Solange
Burrell’s Yeseni and the Daughter of Peace,
and Paul David Gould’s Last Dance at the
Discotheque for Deviants.
Burrell grew up in Bristol and currently
lives in Canada with her family. Her novel
is about Elewa, who lives in a small West
African coastal village in 1748. She has a
gift that allows her to see events from any
point in time, and then she begins to see
visions of life on barbaric slave ships. Can
she alter the course of history?
Paul David Gould grew up on a
Huddersfield council estate and has lived
and worked in Russia. His novel is set in
Moscow after the collapse of the Soviet
Union, and follows Kostya, a 21-year-old
gay man, who must face up to the ways
his mother and the two men he loves each
betrayed him.
Find out more about Unbound Firsts at
https://writ.rs/unboundfirsts
in authors’ favour
In what is excellent news for authors, Amazon
is changing its policy that allows the return of
ebooks for an automatic refund within seven
days of purchase, regardless of how much has
been read. It is a policy which some authors
have complained has costed them a considerable
loss of income.
Under the new rules a refund will only be
issued if less than 10% of an ebook has been
read, essentially now making the terms the same
as if a customer downloads a free sample of the
book, which consists of the first 10%.
The change will come into effect by the end
of the year and is a result of a campaign by the
Society of Authors and its US equivalent, The
Authors Guild. The latter issued a statement
which noted that once the new system is in
place, ‘Any customer who wishes to return an
ebook after reading more than 10 percent will
need to send in a customer service request,
which will be reviewed by a representative to
ensure that the return request is genuine and
complies with Amazon’s policies against abuse.
This process will create a strong deterrent
against buying, reading, and returning ebooks
within seven days, and readers who attempt to
abuse the return policy will be penalized under
Amazon’s policies.’
The annual Ditmar Awards
recognising achievement in
Australian speculative fiction were
presented in October in Canberra at
Conflux 16, the Australian National
Science Fiction Convention. The
awards are named in honour of
Australian fan and artist Martin
James Ditmar ‘Dick’ Jenssen
who financially supported the
awards at their inception in 1969.
The winners of the 2022 awards
were: Best Novel, The Bridge, J.S.
Breukelaar, Meerkat Press; Best
Novella or Novelette, ‘Ariadne,
I Love You’, J. Ashley-Smith, in
Ariadne, I Love You, Meerkat Press;
Best Short Story, ‘The King in Yella’,
Kaaron Warren, in
Under Twin Suns:
Alternate Histories
of the Yellow Sign,
Hippocampus Press;
Best Collected
Work, Tool Tales,
Ellen Datlow and
Kaaron Warren,
IFWG Publishing
Australia.

www.writers-online.co.uk DECEMBER 2022 65

WRITERS’ NEWS

FLASHES INTERNATIONAL PRINT MARKET

The next quarterly

Tingle the spine
Henshaw Press
Short Story PDR Lindsay-Salmon
Competition is
inviting entries up Canadian Eerie River Publishing Tim Mendees is the curator
to 2,000 words. has an editorial team devoted to and project lead for their other
The prizes are horror in all its forms. anthology. With a deadline
£200, £100 and Currently the team want stories of 15 November, the ‘Cosmic
£50. Entry costs for the last of the Elements Horror’ anthology needs stories.
£6 per story. The series. This four-part book series The editorial team want writers
closing date is 6 is dedicated to horror from the to ‘get weird and give the team
January 2023. elements. Opening to subs on 1 sanity-blasting tales of cosmic
Website: www. December the team seek ‘stories horror.’ The team seek ‘stories
henshawpress. of horror with the theme of wind’ inspired by early practitioners
co.uk
and an R rating. Some fantasy such as Blackwood, Machen,
elements are allowed but the Chambers and Hodgeson’,
Slam poetry
champion and
overall feel of the stories must be Historical, space and alternate
beatboxer Jasmine horror genre. ‘Aim to scare.’ The reality settings are fine but not
Gardosi has Wind Elements book will be full fantasy, or sword and sorcery. Think of ‘decaying urban
been named as length, 70,000 words, published landscapes, isolated communities, ancient ruins and
Birmingham’s Poet as an ebook and paperback. lonely ships in orbit.’
Laureate 2022-24. Stories for the book are limited Stories, 2,000 to 7,000 words, must be original, no
Iona Mandal is the to 1,500 to 7,000 words. Format reprints or multiple submission. Format work as 12 pt
new Young Poet work using 12 pt Times New Times New Roman, 1.5 line spacing. Put the story title
Laureate. Roman, 1.5 line spacing. Put to the top of the manuscript but no name or contact
the story title at the top of the details. Title the manuscript with the story title and the
Former Poet work and keep name and contact anthology name ‘Cosmic Horror’.
Laureate Carol Ann details off the story manuscript. Response time is ‘reasonable’. Payment is 1 cent per
Duffy is the latest
Add the element ‘Wind’ beside word CAD.
expert to teach
a BBC Maestro
the story title. Website: https://www.eerieriverpublishing.com
course. Carol
Ann’s 14-lesson

GET SET TO WIN

Writing Poetry
course went live
on 6 October.
A WRITING RETREAT
Literature Wales
has established its
new official home
at the Ty Newydd Win a five-night writing retreat worth £645 in Foxes’ worth £645. There is a second prize of a 1:1 writing
Writing Centre Retreat Winter Solstice Competition 2022. coaching session worth £40 and a third prize of a place on
in Gwynedd. Its
The competition from independent Foxes’ Writing Retreat an afternoon writing workshop held on Zoom, worth £35.
headquarters were
is inviting entries of original, unpublished creative pieces The entry fee of £25 includes written feedback on the
formerly in Cardiff
Bay.
of writing up to 1,500 words, in any form, inspired by the submitted piece of writing.
picture on the contest page of the Foxes’ Retreat website. The closing date is 21 December.
‘My books are The winner will receive a fully catered writing retreat Website: www.foxesretreat.com/competitions
character-driven. I
don’t have plots;
I have situations,
I have stories. I’m
a good storyteller.
But plot! When I
HIT THE ROAD
read a mystery, I The Elmbridge Literary Competition 2022-2023 is inviting short
can’t even follow stories and poems on the theme of ‘The Road’.
the plot. I say, The Elmbridge Literary Competition from The R C Sherriff Trust
“Just tell me
and Elmbridge Borough Council is celebrating the Trust’s 30th
what happened
and who did it! I
anniversary by inviting entries of stories and poems on the theme of
don’t understand ‘The Road’ as much of R C Sherriff’s work involved journeys.
all these intricate The winning entries will be published as a chapbook. In the
convolutions.” A adult categories there are prizes of £250, £150 and £100 in each of the short story and poetry categories. There is also
real plot writer, a special Elmbridge Prize of £50 in book tokens for the best adult short story or poem by an Elmbridge resident.
like Dickens, I’m Enter original, unpublished poems up to 30 lines and stories up to 1,000 words.
awed by. How did The entry fee is £5 per story or poem.
he do it? How did The closing date is 27 February 2023.
he remember?’ Website: www.rcsherrifftrust.org.uk/elmbridge-literary-competition
Ursula K. Le Guin

66 DECEMBER 2022 www.writers-online.co.uk

 WRITERS’ NEWS

UK FANTASY MARKET
Go wyld for this UK fantasy publisher
Tina Jackson

Wyldblood Press is a UK-based
independent publisher of science
fiction and fantasy.
‘We have a quarterly magazine,
which features around ten short
stories each issue, and we upload
original flash fiction (up to 1,000
words) to our website every Friday,’
said editor Mark Bilsborough. ‘We
also put out anthologies, collections
and classic novels. From next year
we’ll be adding original novels and
novellas too. We take stories from
around the world.’
Wyldblood is a lockdown startup.
‘We published our first story in
July 2020,’ said Mark. ‘There
are plenty of science fiction and
fantasy imprints in the States but
not too many over here in the UK,
particularly for magazines, and we
wanted to redress the balance. The
extra time on our hands that we
found in lockdown provided the
perfect opportunity. Everyone on
the team is a writer, a few of us have
spent time with major publishers and
I already had editorial experience so
we took a deep breath, used all that
knowledge and understanding and
went for it.’
Wyldblood publish four issues of
the magazine each year. ‘So that’s
about 40 short stories, plus another
52 on the website. This year we’ll
have two anthologies out, so that’s
another 20-odd stories, plus a “best
of ” collection. More of the same
next year, plus four to six original
novels and a few novellas.’
Post-lockdown, things are taking
off, and Mark and Wyldblood Press
have some exciting plans. ‘In the
future we’ll be developing our range
of original novels and novellas and
gradually moving to the point where
we can pay “pro” rates for short fiction.
We’re beginning to establish ourselves
as a presence in the science fiction
and fantasy world, and you’ll start
to see us increasingly cropping up at
conventions and other gatherings.
At some point we’ll also be offering
editorial services and workshops. We’ll
also be creating audiobook versions of
some of our best short fiction in the
next few months – we’re very excited
about that.’
The Wyldblood Press hallmark is
interesting, speculative tales.
‘We’re looking for great stories, but
that’s difficult to define and we do
have our preferences,’ he said. ‘(Most)
everything we publish has some
sort of speculative element, however
tenuous. That said, we don’t really
publish horror (though we have,
on occasion) and we tend to avoid
“hard” science fiction and “epic”
fantasy, preferring work which favours
storytelling over pompous fantasy
names and pseudoscience. Essentially
we like good, thoughtful well-plotted
character-driven stories with a hint of
strangeness or wonder.’
Wyldblood Press books need to
immediately engage the reader. ‘A
good book for us is one that grabs
us at the start, has characters we can
relate to and a narrative that builds
tension and leads to a satisfying
conclusion,’ said Mark. ‘Basic
storytelling really. We’re wary of
cliché and bad writing (dialogue’s a
particular problem – it astounds me
that so many published writers are
so poor at it) and we’re middlebrow
– we’re not going to be overawed
by florid prose but we’ll probably
be annoyed that the storytelling’s
not clear. We don’t tend to go for
anything too experimental. We’re
looking for shorter works at this
stage – 110,000 words at the upper
end for novels.’
As well as including full
submissions details, the online
submissions page includes the
times when the press is open
for submissions. ‘Because of the
volume of work we get we have
to close for stories from time to
time so we don’t get swamped,
but we’re usually open for at
least one category most months,’
explains Mark. He’s generously
offered to look at submissions from
WM readers even if the press is
closed. ‘Whether we’re technically
“open” or not, Writing Magazine
readers can query us at any time
at contact@wyldblood.com – put
WM QUERY at the start of the
subject line so we know you’ve
come from here.’
Wyldblood Press publishes in
print and digital formats. Payment is
£0.01 per word for short fiction and
royalties for novels and novellas.
Website: https://wyldblood.com/

FANTASY AWARDS WINNERS 2022

The leading UK awards for fantasy fiction
were announced in September, with
the British Fantasy Awards 2022 being
presented at FantasyCon at Radisson RED
Hotel in Heathrow.
The winners were: The Robert
Holdstock Award for Best Fantasy Novel
& The Sydney J. Bounds Award for Best
Newcomer: She Who Became the Sun,
Shelley Parker-Chan (Tor); The August
Derleth Award for Best Horror Novel:
The Last House on Needless Street, Catriona
Ward (Viper Books); Best Collection:
Never Have I Ever, Isabel Yap (Small Beer
Press); Best Anthology: Sinopticon: A
Celebration of Chinese Science Fiction, ed.
Xueting C. Ni (Solaris);Best Non-Fiction:
Writing the Uncanny, ed. Dan Coxon &
Richard V. Hirst (Dead Ink); Best Comic/
Graphic Novel: The Girl from the Sea,
Molly Knox Ostertag (Graphix); Best
Novella: Defekt, Nino Cipri (Tordotcom);
Best Short Fiction: ‘Bathymetry’, Lorraine Best Collection: Never Have I Ever, Isabel
Wilson (in Strange Horizons); Best Yap (Small Beer Press). The Karl Edward
Magazine/Periodical: Apex Magazine; Best Wagner Special Award was given to
Independent Press: Luna Press Publishing; Maureen Kincaid Speller.

www.writers-online.co.uk DECEMBER 2022 67

WRITERS’ NEWS

FLASHES INTERNATIONAL POETRY MARKET

Win a signed copy
of the lavish new Get rattled
edition of The
Watkins Book of Jenny Roche
English Folklore
by Neil Philips, Previously unpublished poems, insightful and musical stand out,
featured in WM including translations of poetry, regardless of style’. The editors
Oct, by entering are invited for Rattle, a quarterly appreciate submissions that are of a
the free contest on journal whose content consists style or subject matter that has not
LoveReading by 20 entirely of unsolicited submissions. been covered.
November. All submissions are automatically Poets Respond publishes poems
Website: www. considered for the Neil Postman each Sunday on news items or public
lovereading.co.uk/ Award in which editors choose one events that have taken place the
competitions poem published during the previous previous week and the deadline is
year and award a prize of $2,000. midnight Pacific Standard Time on
Tracey Coker has
There are two categories open to Fridays. Include a brief explanation
won the BPA First
submissions, General Poems and the as to what the poem is about. know if that piece subsequently
Novel Award 2022
with White Yams.
online Poets Respond. Occasional poems are also published becomes accepted elsewhere.
General Poems may be of any online on Tuesday or Thursday. Payment rates are $200 per poem
Stacey Halls length and a maximum of four No submission should have been and online contributors receive $100
has topped the poems may be submitted. The previously published in print or per poem. All contributors receive a
Women’s Prize’s submission of more than a single online. This does not include work complimentary subscription to the
public vote on poem is preferred. Editors are self published to blogs, message print journal.
top young female looking for poems that move them, boards, social media or similar. Submit using the Submittable
writers. make them laugh or cry, teach them Simultaneous submissions are link on the website: https://rattle.
something new and ‘are unique, encouraged, just let the journal submittable.com/submit
As part of the
Breakthrough

CAPITAL
Mentoring

JOIN THE
Programme,
Curtis Brown
Creative is offering MISSIVES
SPIRAL TRIBE
nine months of
mentoring to five
disabled writers.
The mentoring
will run from
November 2022 to Spiral is a new online service for audiobooks, and possible rival
August 2023. for Audible. According to director Kate Bland, it’s not attempting
to offer, ‘every single book that’s ever been made into an audio,
Jiaqi Kang has won but we are selecting what we hope is a really wonderful array of Write a love letter to the UK’s capital city
the £2,500 2022 international books and translations’. to win a £500 prize in Love Letters to
White Review Short The format clearly has some similarities with Audible, in that London 2022.
Story Prize for you can buy books individually, or subscribe and get two ‘Spiral The competition from The London
Class of 1985. Editions’ included with your subscription each month, plus access Society invites entries up to 500 words
to exclusive content in section of the website called murmurations. on this year’s theme, which is ‘making
‘I do not believe Spiral also offers original audiobooks, which it either co-publishes connections’. Londoners and non-
in writer’s block. or offers ‘in partnership with the UK’s independent publishers’. Londoners alike are welcome to send
I started writing Currently there isn’t a Spiral app (and apparently no plans pieces of writing celebrating London and
when my kids were for one), which may be a drawback for some listeners, and the reflecting on why they love the city.
little, and I could service is accessed exclusively via a browser. It has a one-hour In the open and poetry categories, there
plop them in front
‘memory pocket’, so you can listen while away from wi-fi or are prizes of £500, £250 and £100. In the
of the TV or scribble
without using mobile data. under 12 and 12-18 age-group categories,
while they were
napping. When you
Bland told the Guardian that the company, which officially there are winners’ prizes of £500 and four
have very little time launched on 6 October with a catalogue of over 300,000 titles, runner-up prizes of £150. The school of
to write… guess has the premise that, ‘there are book-lovers who want to go and the two category winners will receive £250-
what? You WRITE. buy their audiobooks and be part of a literary atmosphere that worth of books.
Writer’s block is just is about the pleasure and the life and world that you can Love letters to London may be in any
for people who have within books’. style, including poetry, fiction, reportage
have the luxury of In September in the US Spotify added audiobooks to its etc. Entries may have been published
procrastination. If streaming service, and no doubt will do so in the UK before elsewhere, but they must fit the brief and
you don’t feel like too long. Without an app on reader’s phones, it is difficult have been published in 2022.
writing, write. You to see how Spiral will be able to compete with either Spotify Entry is free. Each writer may enter up to
can always edit (when it launches its audiobook service in the UK) or Audible. three pieces.
a bad page—you You can find out more and or sign up at https://www. The closing date is 30 November.
cannot edit a blank spiracleaudiobooks.com A Spiral subscription costs £12 per Website: www.londonsociety.org.uk/
page.’ month, with books being individually priced. page/loveletters
Jodi Picoult GD

68 DECEMBER 2022 www.writers-online.co.uk

 G O I N G TO M A R K E T

UK THEATRE MARKET
A great collaboration for playwrights
Jenny Roche

A new project for playwrights living in the UK will

see Hull Truck Theatre working in collaboration
with the Royal Shakespeare Company and RSC
Partner Theatres to mark the 400th anniversary of
Shakespeare’s First Folio.
The 37 Plays project is for ‘contemporary plays
that capture the stories of our nation’. Submissions
are invited for comedy, tragedy and untold history scripts. Submissions should be original, Consideration
time
completed and unproduced stories that are not under commission.
Scripts can be between 1 and 100 A4 pages long and must be written in a 10pt font or
above. They must be written predominately in English although other languages or dialects
can be used if a translation is provided. Plan carefully to give your
Submissions are open from 1 January 2023 and close on 31 January 2023. Do not enter your book sales appeal, says
name or contact details on your play but do enter your age group when submitting, ie under Patrick Forsyth
11 years, 12-17 years or over 18 years. Co-written scripts can nominate a lead writer or use an
average age group. If necessary you may use a scribe or transposer for your play and Makaton There is an old (military) saying that time
users can submit in Communication Print accompanied by a written English translation. British spent in reconnaissance is seldom wasted.
Sign Language video entries will be considered and a translation is not required. If – when – you get a book published,
The 37 selected plays will be read script in hand across the UK and online in autumn how many copies it sells depends on many
2023 and a fee awarded for publication, performance and/or broadcast. Any play disparate factors. It is worth considering
subsequently commissioned by a partner theatre for production will follow the Writer’s how a reader picks which book to buy
Guild of Great Britain commissioning processes. and also about how you should relate
Email with ‘37 Plays Submission (age category)’ in the subject line to: engagement@ to such factors (some of which need
hulltruck.co.uk consideration before publication and even
See website for full details. The Resources page has help and guidance on playwriting in before writing). At a recent writing group
the form of films, podcasts and downloads: www.37plays.co.uk/about meeting I attended this was discussed and
the following seemed to those present to
be amongst the most important factors

Pieces of (up to) eight (thousand)

influencing book buyer choice:
• Genre
• Cover art, title and subtitle (or strap
Win a £2,000 first prize for short stories up to 8,000 words in the line), which go together
The Plaza Prizes Short Story Competition. • Blurb
There is a first prize of £2,000 and second and third prizes of • (Anticipated) content
£300 and £100. The top ten shortlisted entries will be published • Reviews and awards (often on the
in the Plaza Prizes Anthology, which will be launched at the cover) and online
awards ceremony in August 2023. The judge for the Short Story • Price
Competition is Roland Watson-Grant. • Social media and online comment
Enter original, unpublished short stories between 1,500 and • Advertising (especial online, eg
8,000 words. All entries must be original, unpublished short fiction, Amazon ads)
and may be in any style or form. • Sales promotion (eg, a discount)
The entry fee is £16 for the first entry and £8 for any subsequent entries. You will doubtless think of more.
The closing date is 30 November. Some you may have little control over.
Website: https://theplazaprizes.com/competition/short-story/ For instance, genre: if you must write
about collecting Victorian toothpicks,
expect to sell less than on a more popular
Signs of spring topic. Some you must influence in
collaboration with the publisher (unless
Shepton Snowdrops 2023 Poetry any form, no longer than 30 lines, you self-publish), for instance price and
Competition is inviting entries. on the theme. blurb. Incidentally, I would recommend
The theme of this year’s In the adult category, entry is £5 always offering a blurb, but not rejecting
contest is ‘Let Nature Thrive’ per poem and writers may submit what a publisher may say about that
The 2023 Shepton up to five poems. The young poet without thought. Some factors may need
Snowdrops Poetry categories are free to enter, and planning ahead; for example, if you want
Competition will be judged by writers may submit one poem. to get the manuscript read with the aim of
nature poet Wendy Pratt. There The Shepton Mallet Snowdrop putting a review on the cover.
are prizes in three categories: Project includes the 2023 As writers most people want to
• 18 and over: £200, £70, £30 Snowdrop Festival between 13 and 19 concentrate on the writing, goodness
• 12 to 17: £100, £40, £30 February 2023. knows that demands a great deal of time
• 11 and under: £50, £20, £15 The closing date is 8 January 2023. and thought. But time needs to be spent
Enter original, unpublished poems in Website: www.sheptonsnowdrops.org.uk elsewhere too and it is on that that sales
success may largely depend.
www.writers-online.co.uk
DECEMBER 2022 69
WRITERS’ NEWS

FLASHES INTERNATIONAL SPEC-FIC MARKET

The quarterly WOW
Brains, brains
Women on Writing
Gary Dalkin
Flash Contest is
open for entries
of fiction between Launched in 2012, Zombies Need Brains LLC is a US game must be integral to the plot or
250 and 750 words small press specialising in speculative fiction anthologies. character development and the genre
until 30 November. Founder and editor Joshua Palmatier has recently can be science fiction or fantasy.
Prizes are $400, announced four new anthologies, already fully funded via Artifice & Craft focuses on stories
$300 and $200 Kickstarter, with a deadline of 31 December 2022. The about works of art that have been
plus Amazon gift anthologies are: Dragonesque, Game On!, Artifice & Craft, enchanted, hexed, charmed, or
certificates and Solar Flare. cursed. This can cover anything from
publication. The You may submit up to three stories to each anthology, physical art (drawings, sculptures,
entry fee is $10. each of which should be no longer than 7,500 words. No paintings, fine furniture, printed
Website: reprints or previously published material. Use standard novels, written stories, sheet music,
www.wow- manuscript format and include the title of the story, your etc.) to performance art (dances,
womenonwriting. name, address, and email, word count, and pseudonym theatrical productions, music, stories
com/contest.php if applicable. Stories must be submitted in electronic and poems conveyed orally, etc.
format to the Zombies Need Brains Moksha site for the which exist only for the duration of
Film actor Russell appropriate anthology at http://zombiesneedbrains. a performance). Essentially, anything
Crowe’s £5,000 moksha.io. If you submit more than one story, make that might be considered a work of
donation to each submission separately. Each anthology will feature art and that has some magical or
independent a range of tones, from humorous all the way up to dark. supernatural property.
Norwich bookshop This is what is required for each book: Solar Flare requires solarpunk stories, essentially
Bookbugs and
Dragonesque: Science fiction, fantasy, or urban fantasy science fiction stories of the near or far future where we
Dragon Tales
stories where a significant portion of the story is written have managed to solve, to a degree, the issues of climate
has enabled the
from a dragon’s point of view. Stories can take place in a change and have mitigated our destructive tendencies
bookshop to stay
wide variety of settings, not just generic secondary world toward the planet. Submissions should be overall
afloat. Crowe’s
generosity means
fantasy locales. hopeful, but there must still be some sort of conflict to
he is now entitled Game On! is to feature stories centred around a game, drive the story.
to a gold loyalty whether it is a known game or one invented for the story. Payment will be 8 cents US per word plus royalties.
discount card at They can be board games, video games, role-playing Send enquiries to contact@zombiesneedbrains.com
the shop. games, etc., but they absolutely cannot be licensed Essential to read and follow the full guidelines at
properties, for example, Scrabble, due to rights issues. The https://writ.rs/zombiesneedbrains
Juno Books,
a new queer
intersectional indie
Bus pass
feminist bookshop,
has opened in Winning poems from the first be shown at Guernsey airport, This year’s judge is
Sheffield, with Guernsey International Poetry then all over the island. Jackie Kay.
a mission to Competition 2023 will be There are also cash prizes in three The entry fee is £4
support a greater displayed on Guernsey buses. categories: per poem or £10 for
representation The Poems on the Move • Open poetry: £1,000, £500, £250 three. Entry in the
of women and competition is inviting entries of • Channel Islands poetry by writers young poet’s category is free.
marginalised poems no longer than 14 lines. 21 resident in the Channel Islands: £250, The closing date is 15 January
people in the world winning poems will be displayed on £50, £30 2023.
of books. buses, and a selection of these will also • Young people’s poetry: £250, Website:
be used to create a display that will £50, £30 www.poemsonthemove.com/
An Antiques
Roadshow guest
was stunned to
find that the 19th
century illustrated
Spark up your ideas No doubting the
book, Drawings
by the De Alwis
The Sudden Fiction contest from The Plaza Prizes is for short, sharp
stories no longer than 1,500 words.
Edward Thomas prize
Family, was valued
at £10,000. The competition is for stories sightly longer than flash called The Edward Thomas Fellowship Poetry Competition
‘smokelong’ – because they can be read in the time it takes to smoke 2023 is open for entries for the Edward Cawston
I’m convinced the a cigarette. Thomas Prize.
more fabulous The winner will receive £1,000 and there are second and third Enter original, unpublished poems on any subject, no
the notebook, the prizes of £300 and £100. The top ten shortlisted entries will be longer than 40 lines.
better the resulting published in The Plaza Prizes Anthology in summer 2023. The judge The winner will receive £150. There are two runner-
novel will be – the is Tara Laskowski. up prizes of £75 and up to six highly commended
one I’m currently Enter original, unpublished short fiction in any style or form, with prizes of £25. Winners will be invited to read at the
using has a flocked a maximum of 1,500 words. AGM in Hampshire in March. The judge is poet Jane
cover, gilded The entry fee is £14 for the first story and £7 for any Draycott.
pages and is by subsequent entries. The entry fee is £3 per poem. Writers may enter up
Christian Lacroix. The closing date is 30 November. to three poems.
Jill Mansell Website: https://theplazaprizes.com/competition/sudden- The closing date is 15 January 2023.
fiction/ Website: www.edward-thomas-fellowship.org.uk/
70 DECEMBER 2022 www.writers-online.co.uk
 WRITERS’ NEWS

UK POETRY MARKET
Poetry please Enter flash up to
1,000 words to win
Jenny Roche
a £300 prize in the
Fiction Factory’s Flash
Fiction Competition
Manchester-based Carcanet Books is open to 2022.
poetry submissions from 2 January 2023 to 20 The Fiction
January 2023 for three of its imprints; the New Factory’s Flash Fiction Competition is inviting
Poetries anthology series, the six times a year PN entries of original, unpublished flash fiction up to
Review journal and the Carcanet Collections. 1,000 words. Entries may be in any genre except
It is suggested you check out its catalogue to see what is published, as well as the children’s and YA.
PN Review journal which is described as ‘an index (or fever chart) of their interests and The top prize is £300. The judge is writer and
enthusiasms’. coach Helen Cox.
Full-length poetry manuscripts in English or translation are invited whilst novels, short The entry fee is £5 for one, £9 for two and £13
stories, children’s prose/poetry and academic, biographical and other non poetry-related for three.
titles are not wanted. The closing date is 30 November.
Submit your work as a pdf document which includes your contact details for a response. Website: https://fiction-factory.biz/
Details: email: submissions@carcanet.co.uk; website: https://writ.rs/carcanet2023

Get collected
Mslexia Women’s Pamphlet Competition 2022 offers
a prize of publication from Bloodaxe Books and
£250 in the contest for women poets.
The competition is for collections no longer than
24 pages. (Up to 20 poems of any lengths, as long as
each page contains no more than 40 lines of poetry.
Poems may have been previously published, but not
as a collection.
The winning collection will be published as a
pamphlet by Bloodaxe Books and the writer will
receive £250. A selected poem for the collection
will be published in Mslexia. This year’s judge is
Imtiaz Dharker.
The entry fee per collection is £20.
The closing date is 5 December.
Website: https://mslexia.co.uk/

Single poem Poetry pamphlet

1st Prize: £2,000 For collections of up to 20 poems
2nd Prize: £500 1st Prize: £250, plus publication of the
3rd Prize: £250 pamphlet by Bloodaxe Books
Unpublished Poet Prize: £250 Entry fee: £20
The four winners plus 16 additional finalists
will be published in Mslexia magazine.
Entry fee: £10 for up to three poems.

Women’s JUDGE POETRY: HELEN MORT

JUDGE PAMPHLET: IMTIAZ DHARKER for Bloodaxe Books

Poetry &
Pamphlet
DEADLINE: 5 DECEMBER 2022

Competition
2022 Mslexia Publications Limited
PO Box 656
Newcastle upon Tyne
NE99 1PZ

mslexia.co.uk/competitions
competitions@mslexia.co.uk
+44 (0)191 204 8860

DECEMBER 2022 71
WRITERS’ NEWS

FLASHES INTERNATIONAL MAGAZINE MARKET

Bank your writing here
Tape Collective has
PDR Lindsay-Salmon
a call-out for pitches
that offer alternative
and personal CutBank is a well-established literary Artists competition. Find full details on
perspectives on magazine, founded by the Creative the website.
film/art/culture. Writing programme at the University of General submissions are open
Payment is Montana. The team of professors and from 15 September to 1 February
from £60 per students who publish CutBank twice for poetry, no more than five
accepted piece. a year like ‘compelling poetry, fiction, poems of visual art, five files per
Website: www. submission, fiction, and creative
and literary nonfiction’. The team like
tapecollective.co.uk
to discover and develop new writers and nonfiction of no more than 8,500
their work, and welcome work from words. Simultaneous submissions
It was announced
as WM was
all writers everywhere. They like work are welcome, but not reprints or
going to press which intrigues, stimulates and leaves a multiple subs.
that author and reader wanting more. The team welcome submissions
publisher Carmel The CutBank team hold prestigious of all types of visual art. If the work
Callil, who founded annual competitions for fiction, creative is 3D, upload multiple images to
feminist imprint nonfiction, poetry, chapbook contest feature rotational perspective. Submit
Virago Press in and the new All Accounts and Mixture: no more than five high-quality files
1973, had died A Celebration of LGBTQ Writers and and include an artist biography.
aged 84. The team publish an annual online
feature showcasing poetry, prose,
Colleen Hoover’s It visual art, reviews, and interviews literary mainstream. Response time is
Starts With Us has in a forum for writers whose voices typically 3 to 5 months.
been named as W might be underrepresented by the Website: www.cutbankonline.org
H Smith Book of
the Year.

Icon Books has

INTERNATIONAL NON-FICTION
been acquired
by Amberley Connections to Canada
Publishing,
following its Gary Dalkin
recent acquisition
of Quiller
Publishing in June are especially interested in stories about science and
2021. technology, climate, artificial intelligence and indigenous
affairs, but will also consider more personal pieces, for
In a bid to protect example, about your inspiring journey to a new country
independent or a recipe that reminds you of home.
bookshops from The Canada-UK Foundation is a UK-based charity which One pitch will be accepted each month. It should be
online retailers promotes Canada in the UK through education and cross- between 100-150 words, and the final essay between 500-
who offer to deliver cultural collaboration. The editorial team are looking for 1000 words. No previously published material. Payment
books for as little ‘budding writers with a connection to both Canada and is £100 per essay. Follow the full guidelines at www.
as €0.01, the French the UK’ who have not professionally published more than canadaukfoundation.org/newsletter/call-for-essays-
government has five articles. They say, ‘if you have a story to tell, send us canada-and-the-uk, which includes a submission form
proposed a €3
your pitch.’ You might be a Canadian living in the UK, a when the site is open to submissions. Send questions to
minimum delivery
Brit married to a Canadian, someone with family in both admin@canadaukfoundation.com
fee on all online
book orders of less
countries, or any other connection. Right now the editors Follow on Twitter/Facebook: @CanUKFoundation
than €35.

‘Nothing comes Love Liverpool

easily. If you
want to compose The Uncover Liverpool arts bulletin gigs, theatre, music, exhibitions, one- style. ‘We’re just looking for anyone and
something original is looking for writers wanting to off events, comedy, days out, festivals, everyone who has a talent for writing
and meaningful contribute to its ‘what’s on’ guide to literature, talks, workshops, arts jobs and wants to build their portfolio’.
about what it arts and culture in the city and the and opportunities. Although most It’s hoped to be able to pay writers
means to be alive surrounding region. It is a project by pieces are around 300-500 words long, in the future and planned to make the
and say it freshly Open Culture, an independent social anything longer can be considered. bulletin self-financing, and then aim
in the English enterprise encouraging engagement It is not necessary to be a published to begin commissioning writers.
language – or with the arts, particularly for those writer to contribute; you only need to Send an email introducing yourself
any language – who might think the arts are not love writing and the area. ‘Just send if you would like to be involved to:
it’s bound to be for them. The guide can be accessed us something you’ve put together, hello@uncoverliverpool.com
difficult.’ online or by signing up for a regular or written for uni, or for any other Website: www.uncoverliverpool.
Claire Keenan,
e-newsletter. purpose’ say guidelines, and this will com/community/article-writers-
author of Small
Articles and features are wanted on give editors an idea of your writing wanted-uncover-liverpool/
Things Like These

72 DECEMBER 2022 www.writers-online.co.uk

 WRITERS’ NEWS

INTRODUCTIONS
Writing Magazine presents a selection of current international small press submission
calls. We strongly recommend that you read backlist titles, familiarise yourself with their
guidelines before submitting and check websites for submission details.

Small international presses Rivercliff Books &
Media are a new imprint of Wetware Media,
LLC, and ‘welcome submissions from all
over the authorial map – fiction, nonfiction,
essay – from both new and established
authors.’ They publish books, audiobooks,
and a podcast of short fiction and nonfiction.
Currently open to ‘submissions of well-
crafted fiction and non-fiction books.’ The
team particularly want ‘titles that can be
successfully adapted for film and television.’
Novellas, 30,000 to 50,000 words, and
nonfiction and novels, 50,000 and 90,000
words, may be in most narrative styles
and forms of fiction. No horror, sci-fi, or
dystopian work. The team are also seeking
compelling literary nonfiction.
Submit the first chapter or first 25 pages of
the book through a personal Hey Publisher
account. Rights and royalties are discussed.
Website: www.rivercliffbooks.com
Run Amok is a
small press that
likes ‘the obscure
and the strange, the
irreverent and the
profane.’ They love
‘experimental forms
and interesting
voices.’ Currently
open to full-length novel manuscripts for the
crime imprint Run Amok Crime, the team
like noir, literary noir, gumshoes and police
procedurals. They want ‘anything gritty that has
an element of crime in it.’ Manuscripts should
be between 70,000 and 90,000 words. Submit
the full manuscript online.
The team also seek subs for The Growlery
which is their new blog about writers and
writing, 500 to 1,000 words. The blog has
regular features. Greatest Misses: Writers On
Failure; Killer Reviews where authors discuss
reviews; The Workshop Experience about
creative writing work-shops; and What The Hell
Am I Thinking: Writers On Why They Write’.
Response time is 4 to 6 months. Blog
payment is 3 to 5 US cents per word. Rights
and royalties for books are discussed with
a contract.
Website: www.runamokbooks.website
Haymarket Books is a radical, independent,
nonprofit book publisher based in Chicago.
The editorial team seek subs which ‘are
accessible to a wide range of progressive and
radical political activists, while also being
useful to an academic audience.’ If the work
is about activist personalities, personal activist
memoirs, activist groups, explaining what
activism is and how to get involved, why
activism is necessary for society etc. then the
team may be interested.
Submit work online using their system.
Include a cover letter explaining the proposed
topic and its relevance to their audience,
a CV/resume, a table of contents and a
detailed chapter outline of the book, and two
(maximum) sample chapters. Include market
info and a timeline for completion of the
manuscript, and an estimated word count
for the completed manuscript. Rights and
royalties are discussed with the contract.
Website: www.haymarketbooks.org
History Through
Fiction is an
independent press
with an editorial
team who publish
‘high-quality
fiction that is
rooted in accurate
and detailed
historical research.’
All HTF books ‘include important primary
and secondary source materials’ available
to readers through things like ‘footnotes,
endnotes, or a bibliography.’ They seek
writing which bridges the gap between history
and storytelling, and does it with ‘well-
researched, engaging, and diverse narratives.’
The team like ‘well-crafted fiction that is
based on real events and people.’
Currently open to submissions for full-
length manuscripts, the team seek ‘high-
quality fiction that is based on historical
research.’ Email submissions with the title and
word count of the manuscript in the subject
line. Include a synopsis, a brief biography and
the first 10 to 20 pages of the manuscript.
Underrepresented writers are encouraged to
submit. There is an online journal publishing
short stories and novel excerpts, open all year
to submissions of previously unpublished
1,000 to 8,000-word stories.
Deadline for novel submissions is 15
December. Response time is ‘up to six weeks.’
Rights and royalties are discussed with the
contract. Short story payment is a US$25
honorarium.
Website: www.historythroughfiction.com
Kelp Books is an independent press located
in Pebble Beach, California looking for
submissions of literary, crime, thriller,
mystery, and horror manuscripts. Coastal
themes, West
Coast locales,
surfing, and
works that
embody travel
and adventure
are preferred.
The team accept
novel-length,
70,000 to 120,000 words, manuscripts. The
team also consider short story collections,
poetry, and nonfiction.
The press also publishes Kelp Journal,
an online and print literary magazine with
oceanic, conservationist, and surf forward
themes. Submit fiction up to 6,000 words,
essays, poetry, and travel memoirs. They
have no genre restrictions. The Wave is the
team’s new journal for ‘unpublished micro,
flash, and short fiction in any genre; short
essays on any topic; book reviews; poetry,
and photography and art.’ Response
time is ‘reasonable.’ Rights and royalties or
payments are discussed with
a contract.
Website: www.kelpjournal.com

Olympian heights for stories

Win cash prizes as well as gold, silver and bronze medals for short
stories in the Wenlock Olympian 2022/2023 Competition.
The Wenlock Olympian Writing competition is arranged by
the Wenlock Olympian Society in collaboration with Much
Wenlock and District U3A ‘Writers on the Edge’.
Enter original, unpublished short stories no longer than 2,500
words to win prizes of £150, £50 and £25, plus gold, silver and
bronze Wenlock Olympian Society medals. This year’s judge is
Emma Cooper.
The entry fee is £5 for one, £8 for two and £12 for three.
The closing date is 23 November.
Website: www.wenlock-olympian-society.org.uk/creative/
DECEMBER 2022 73
WRITERS’ NEWS

FLASHES UK ONLINE MARKET

Get creatives
Autumn House
Press is inviting Jenny Roche
entries of debut
full-length fiction for
Published by the Scottish Mountaineering Press, Creatives 2,500 words. For interviews,
its 2023 Rising Writer
is a digital publication ‘which promotes, reimagines first send a proposal with your
Prize. The winner will and is inspired by the beauty of the Scottish landscape’. potential questions and the
receive $1,000 and Submissions of fiction, poetry, nonfiction, visual arts and presentation medium eg. text,
a $500 promotional videography are invited. video, audio or mixed. See
travel grant. All Within these genres editors are looking for ‘fresh website for details of visual arts
finalists will be concepts, unconventional experiences and journeys, and videography submissions.
considered for humorous or even tragic insights, unfamiliar characters Format your work using
publication. Entry is and mythologies, subjective and objective research’. a legible 12pt font and 1.5
$25. The closing date For fiction, submit no more than three pieces of line spacing. Simultaneous
is 30 November. less than 2,500 words. Poetry submissions should not submissions will be considered with the usual proviso.
Website: www. exceed more than four poems or six pages. Non fiction Pieces that have been previously published in print or
autumnhouse.org/ submissions, which online are not wanted.
submissions/rising- includes essays, memoir Email with a short bio in the body of your email to:
writers-prize/ and interviews, should be alex@scottishmountaineeringpress.com
no more than three pieces Website: https://scottishmountaineeringpress.com/
Bookouture up to a total word count of creatives/submissions/
founder Oliver
Rhodes has
launched a new
publishing venture,
Storm Publishing.
INTERNATIONAL PRINT MARKET
Marple, a new Coffee-break pride
collection of
12 new short P.D.R. Lindsay-Salmon
stories featuring
Agatha Christie’s The Pride Book Café team pride should be one of the following
much-loved themselves on being the best genres: ‘horror, mystery, crime,
sleuth, features place for diverse storytellers. thriller, and/or suspense.’ They
stories by some Their imprint Aurelia Leo is an like protagonists who are ‘Queer,
of contemporary independent, ‘Nebula Award- Trans, Black, Indigenous, or/and
writing’s finest nominated, and BSFA Award- People of Colour (QTBIPOC)’.
women authors, winning publishing house for They enjoy ‘settings outside the
including Val diverse genre fiction: romance, United States of America, or of an
McDermid, Elly mystery, thriller and suspense, unknown United States of America.’
Griffiths, Kate horror, science fiction, and fantasy.’ They welcome ‘Intersectionality
Mosse and Naomi Currently closed to unsolicited in regards to gender, class, ability
Alderman. full-length submissions, but the status, ethnic origin, religion,
editorial team are always open to sexual orientation.’ Supernatural
The British Library submissions for PRIDE Quarterly, elements are encouraged but are not
hosted An Evening a genre fiction magazine for necessary. Please format according Response time is ‘2 to 3 weeks’.
for Salman QTBIPOC creators. They also want to Shunn Modern Manuscript Payment is US$0.08/word for the
Rushdie on 10 subs for their anthology: FABLE: Format. Simultaneous submissions first 1,000 words, and US$0.01/
October, featuring are accepted but not multiple subs, word over 1,000 words. Reprints pay
An Anthology of Horror, Suspense and
appearances
the Supernatural. Stories may range although a writer may submit one US$0.01/word.
by Mona Arshi,
from 1,000 words up to novella- reprint and one original story. Website: https://
Melvyn Bragg,
length 39,999 words. Submissions Deadline is November 30, 2022. pridebookcafe.com
Kathy Lette and
Alan Yentob.

‘I haven’t
experienced all Broken window for pamphlets
the things that the
children in my lift Poetry publisher Broken Sleep Poems may be in any style or genre,
have experienced, Books has a submission window and on any subject.
otherwise I’d be a open for poetry pamphlets up to 30 Include a brief biography
nervous wreck! But November. and synopsis in the pamphlet
I’ve always had a Pamphlet submissions may be submission.
good imagination between 15 and 40 pages. Individual Broken Sleep pays 10% royalties
and I’ve always been poems within the pamphlet may and five free author copies. Broken
quite good at putting have been previously published,but Sleep authors may buy unlimited
myself in other Broken Sleep prefers that at least copies of their book at 50% discount.
people’s shoes.’ 50% of the manuscript should Website: www.brokensleepbooks.
Jacqueline Wilson consist of previously unseen poems. com/submissions

74 DECEMBER 2022 www.writers-online.co.uk

 INTERNATIONAL MAGAZINE MARKET
Willowy writing
PDR Lindsay-Salmon
Willow Springs is a biannual print journal with

Novel
an editorial team aiming to publish ‘the finest in
contemporary fiction, nonfiction, and poetry, as well
as interviews with notable authors’. Put together by
the students and professors of the MFA programme
at Eastern Washington University, the team accepts
‘fiction and poetry submissions between the 1st of
September and the 31st of May, but nonfiction is open
year-round.
Ideas
The team seeks submissions which surprise and
move the reader, and ‘welcome and encourage Make a
work from all writers… particularly writers
whose perspectives and experiences are often
underrepresented in the literary world.’
Simultaneous submissions are accepted, but not
writer’s day
reprints or multiple subs. Poets, submit no more than five poems and put them all Nothing beats knowing
in a single Word document. Prose works, three pieces of flash under 750 words,
short stories over 1,000 words, need to go beyond the conventional. Translations
you’ve made a reader happy,
are welcome if you have acquired publication permission from the author of the Lynne Hackles
original work.
Response time is ‘within six months.’ Payment: US$100 for long-form prose, It was a first for me. I’ve had reviews
US$40 for short prose and US$20 per published poem plus two copies. about my non-fiction books but had never
Website: https://inside.ewu.edu/willowspringsmagazine received actual fan mail before. It was
about a prize-winning story I’d written.
The sender of the fan mail had taken the
time to find my email address and tell
Supporting romance me how much they’d enjoyed reading my
story. That short email meant so much to
The Romantic Novelists Association Hannah Schofield; Publisher and/or me. On bad days – and we all have them
has announced the shortlists for their Editor of the Year: Boldwood Books; – I’ve turned to it often. It cheers me up
Industry Awards 2022. Charlotte Ledger; Sara-Jade Virtue. and lets me know that there are people out
The ten categories and shortlists are The RNA’s Industry Awards have been there who enjoy my writing. So, why have
as follows: held for the past eight years. Awards I only sent two of these in my lifetime?
The Romantic Bookseller of the organiser Laura James, said: ‘Of late, How many have you sent? How many
Year: Tea Leaves and Reads; Words people have experienced difficult times, books have you loved, maybe even re-read
& Kisses; Inclusion Award: Mills & yet our authors continue to produce because you’ve enjoyed them so much?
Boon; Rebecca Slorach; Claire Wade; quality romantic fiction which enlightens, Writers who have laboured over their
Indie Champion of the Year: Alliance informs, and entertains. These stories work, who have tried to make their
of Independent Authors; Clare Flynn; reflect the strength, determination, characters real and the plot exciting,
Lizzie Lamb; Library or Librarian and passion of the human spirit. They entertaining or amusing, don’t get to
of the Year: Daren Kearl; Sharon give hope and show love can heal. It see the appreciation. Yes, there are
Whitehouse; Indie Editor of the Year: is a wonderful privilege and a genuine online reviews but to get in touch with
Alison May; Emily Shelton Poole: Cover pleasure to honour the individuals and an author and tell them how much
Designer of the Year: Lucy Murphy; organisations who support and promote you enjoyed their work is completely
JD Smith; Narrator of the Year: Anne romantic fiction and the RNA. They different. From being on the receiving
Dover; Helen McAlpine; Susie Riddell; ensure our stories are enjoyed by readers end, I can tell you it’s wonderful.
Media Star of the Year: Claire Fenby; all over the world.’ One day, you may be lucky enough
Rachel Gilbey; Anne Williams; Agent The winners will be announced on to see someone reading your book and
of the Year: Clare Coombes; Kate Nash; 11 November. laughing out loud, or maybe dabbing a
tear from their eye. Enjoy the experience
but be wary of speaking to them. It may
go well but one well-known writer had a
Winter flash bad experience. He was on a train when
he noticed the person sitting opposite him
The next instalment of the quarterly Flash 500 Flash Fiction competition is open for was reading his latest novel. He leaned
entries of original, unpublished short fiction in any style or genre, up to 500 words. towards the reader and whispered quietly,
There is a first prize of £300, a second prize of £200 and a third prize of £100. The ‘I wrote that.’ The reader stared at him,
results are announced around six weeks after the contest has closed, and the three winners snapped the book closed and quickly
of each quarterly competition are published on the Flash 500 website. moved to another seat.
There is an entry fee of £5 for one story, and £8 for two. If you love a story, or book, think
The closing date is 31 December. about contacting the writer and letting
Website: https://flash500.com/flash-fiction/ them know you loved it. You can make
their day.
WRITERS’ NEWS

FLASHES UK PRINT MARKET

Keep it lowbrow
Blackbough Poetry
has a call out
for anthology
Jenny Roche
submissions
in response to A publisher with a ‘love of lowbrow and pop realism’
T.S. Eliot’s The London-based Korero Press has a particular focus on
Wasteland, which ‘kuston kulture, street art, illustration, erotica and horror’.
was published Its list consists of illustrated books so novels are not
100 years ago. wanted. It is advised you familiarise yourself with their
Submit between publications before submitting. Check out their website
21 November and and social media links.
31 December. If you have a book you think will fit, submit your
Website: www. contact details, a one-page covering letter and a detailed
blackboughpoetry. synopsis which should include chapter headings, an
com/events introduction and sample illustrations or photographs. you think your book is different.
Include also a market analysis of who you see as your Details: email: info@koreropress.com; website:
Former Spice Girl potential readership, details of any similar titles and why www.koreropress.com
Geri Halliwell
has a signed a
two-book deal
for a children’s UK LITMAG MARKET
adventure book
series. The UK
publisher will be Stand out here
Scholastic UK.
Jenny Roche
Louise Kennedy
has won the
£5,000 John The quarterly Stand magazine of English in collaboration with are preferred. All submissions must
McGahern Prize has a 70-year British and world the University of Bolton’s School be previously unpublished and not
for a debut book literary heritage to be proud of, and of Arts and America’s Virginia be simultaneously submitted to
of Irish fiction for publishes both established and new Commonwealth University. other journals.
her short story writers of poetry and fiction for a Poets should submit a maximum Details: email: engstand@leeds.
collection, The worldwide readership. It is edited of 4-6 poems and fiction ac.uk; website: www.standmagazine.
End of the World from the University of Leeds School submissions of under 3,000 words org/submissions
is a Cul de Sac.

London
photographer Place your trust
Soulla Petrou
is running a Win a £2,000 first prize in The 2022 Charles Causley
Kickstarter to self International Poetry Competition.
publish Rewind, a The annual competition from The Causley Trust is
collection of her for poems of any length up to 40 lines.
work exploring The winner will receive £2,000 and a week-long
dance music
residency at Cyprus Well, the former home of poet
culture, for
Charles Causley in Launceston. The second prize is
charity. Soulla,
£250 and the third, £100. All prizewinners will be
who was a friend
of murdered
invited to take part in the Charles Causley Arts & The entry fee is £7.50 for one poem and £5.50 for
journalist and Cultural Festival in Launceston between 30 June and any subsequent poems.
former MixMag 2 July 2023. This year’s head judge is Séan Hewitt. The closing date is 1 January 2023.
editor Dom All entries must be original and unpublished. Poems Website: https://causleytrust.org/
Phillips, will be may be on any subject. competition-2022/
donating proceeds
to Unijava, an

Mounting anxiety
organisation set
up to help the
people of the
Javari Valley in the Enter short fiction on the theme of original, unpublished short fiction
Amazon, which ‘Anxiety’ for The European Writing between 1,500 and 3,500 words.
was the cause Prize 2023. All entries must be on the theme of
Dom championed. The European Writing Prize is ‘Anxiety’.
the most prestigious of the writing The winner will receive €50,
If you don’t like competitions organised each year by lifetime membership of the European
someone’s story, the European Society of Literature. Society of Literature, and publication
write your own. The Prize is a free-entry in its quarterly journal. Website: www.litsoceu.com/
Chinua Achebe international competition for The closing date is 1 January 2023. writing-prize

76 DECEMBER 2022 www.writers-online.co.uk

 WRITERS’ NEWS

INTERNATIONAL
ZINE SCENE PDR
Lindsay-Salmon

The Furious Gazelle
accepts short fiction,
micro fiction, poetry,
short plays, novel excerpts, and creative non-
fiction and subs for its Things That Make
Us Furious column in satirical essay, listicle,
or rant form. Authors and publishers may
submit a book for review consideration. Prose,
essays, fiction and nonfiction, no more than
7,000 words please. If submitting flash, please
limit subs to five individual pieces. Poetry, any
style, one to five pages please. For plays limit
the sub to 20 pages.
Rights and payment are discussed on
acceptance.
Website: https://thefuriousgazelle.com
Brevity: A Journal
of Concise Literary
Nonfiction publishes
‘well-known and emerging writers working
in the extremely brief essay form, craft essays
and book reviews.’ Submit flash non-fiction
essays no longer than 750 words, and Craft
Essays no more than 1,200 words on the craft
of writing. To submit a Craft Essay please first
contact the Craft editor with ‘either a brief
description of the idea or the finished essay.’
Payment is a US$45 honorarium for featured
essays and craft essays for first serial rights.
Website: https://brevitymag.com
The Journal of
Compressed Creative
Arts from Matter Press
accepts fiction and
creative nonfiction, ‘as
long as they are compressed in some way.’ For
the current reading period, they are looking
for work from writers who are previously
unpublished. Work is published weekly. For
fiction and creative nonfiction prose, which
includes prose poems, the word limit is 600.
Payment is US$50 ‘per accepted piece and
signed contract.’
Website: http://matterpress.com/journal
Cordite Poetry
Review is a quarterly
Australian and
international journal of poetry, criticism and
research. The team often welcome a guest
editor who ‘may invite five Australian and five
overseas authors to submit to the issue’ as well
as ‘select an additional 30 to 35 works’.
Submit no more than three poems in one
Word or rtf document. The deadline for this
submission window is 4 December.
Website: http://cordite.org.au
Air/Light is an online
literary journal
published by the
English Department
at the University of Southern California to
showcase both traditional and innovative
works, particularly from female-identifying,
BIPOC, and LGBTQ creators. Submit
nonfiction, no more than 4,000 words, in
the form of personal essays, critical essays,
memoir, reviews, reportage, travel, interviews;
fiction in all genres and styles, up to 4,000
words; poetry: no more than ten pages per
submission. Collaborative essays are welcomed
up to 4,000 words, and so are multimedia and
visual art pieces.
Payment: poetry: US$50, responses and
department pieces: US$100, fiction and
essays/nonfiction: US$200 and visual art,
music, and multimedia: US$200.
Website: https://airlightmagazine.org
Exposition Review is an independent, multi-
genre literary journal of fiction, flash fiction,
nonfiction, poetry, scripts for stage and
screen, film, experimental narratives, visual
art, and comics. It’s currently open to subs
for ‘Exposition Review: Vol. VIII’, on the
theme of ‘lines’. Fiction submissions of short
stories and stand-alone novel excerpts should
be no more than 5,000 words. Flash fiction
no more than 1,000 words. Writers may
submit three pieces of flash or microfiction.
Nonfiction in the form of memoir, personal
essays, and creative nonfiction, under 5,000
words; poetry, one to three poems; one-act
plays, scenes, or short film and screenplay
excerpts, up to 15 pages. The journal runs
regular themed Flash 405 competitions.
The deadline is 31 December. Payment is
US$50.00.
Website: http://expositionreview.com
The Sunlight Press
is a digital literary
journal publishing
creative nonfiction, fiction, poetry, book
reviews, photography, and reflections by artists
on their craft three times a week. Submit
personal essays, 750 to 1,000 words, fiction,
under 2,000 words and flash fiction, under
1,000 words, poetry, one to three poems.
Reviews of books, short story collections, and
essay collections should be 750-1,000 words.
The Artists on Craft series welcomes pieces
under 1,000 words. Payment is US$40.00
for essays, book reviews and Artist on Craft
pieces; US$40 for fiction, US$30 for the
first poem and US$10 for each additional
accepted poem; US$15 for photos for first
publishing rights.
Website: www.thesunlightpress.com
Revolute is a
digital literary
magazine
founded in 2019
by the Randolph College MFA programme.
Submit one story (or flash fiction) or one
essay per submission, limited to 7,000
words. For poetry, send up to three poems,
no more than 15 pages. Payment: US$25 per
acceptance of up to three poems, US$25 for
prose works.
Website: https://revolutelit.com

Book lists, bag lists

The 2022 Books Are My Bag Readers Awards Shortlist, as chosen
by bookshops, are: Fiction: Heaven, Mieko Kawakami; Her Majesty’s
Royal Coven, Juno Dawson; Our Wives Under the Sea, Julia Armfield;
Tomorrow, and Tomorrow, and Tomorrow, Gabrielle Zevin.
Nonfiction: Ghost Signs, Stu Hennigan; Otherlands: A World in the
Making, Dr Thomas Halliday; The Transgender Issue, Shon Faye;
Without Warning and Only Sometimes, Kit de Waal. Poetry: Bless the
Daughter Raised by a Voice in her Head, Warsan Shire; The Fire People:
A Collection of British Black and Asian Poetry, Lemn Sissay; Limbic,
Peter Scalpello; 100 Queer Poems edited by Mary Jean Chan and
Andrew McMillan. Young Adult Fiction: All That’s Left in the World,
Erik J Brown; I Kissed Shara Wheeler, Casey McQuiston; The King is
Dead, Benjamin Dean; When Our Worlds Collided, Danielle Jawando.
Children’s Fiction: Grimwood: Let the Fur Fly, Nadia Shireen; Like a
Charm, Elle McNicoll; Loki: A Bad God’s Guide to Being Good, Louie
Stowell; Skandar and the Unicorn Thief, A.F. Steadman. Breakthrough
Author: Mieko Kawakami, author of Heaven, All the Lovers in the
Night, and Breasts and Eggs; Alice Oseman, creator of the Heartstopper
series; Jamie Smart, creator of the Bunny vs Monkey series; Gabrielle
Zevin, author of Tomorrow, and Tomorrow, and Tomorrow.

www.writers-online.co.uk DECEMBER 2022 77

WRITERS’ NEWS

FLASHES UK MAGAZINE MARKET

Mandrake is open
Fit lit in quick
for submissions
of weird, Gothic, PDR Lindsay-Salmon
supernatural and
horror writing for
issue 2, up to 1 The editorial team at Shooter likes They want writers to submit short
December. Submit to support ‘emerging writers of stories and non-fiction of 2,000 to
one story or piece literary fiction, creative non-fiction, 6,000 words and/or no more than
of non-fiction/up to narrative journalism and poetry.’ three poems. should email examples of their work
two poems. Published biannually, in January Simultaneous submissions are fine or a link to their online portfolio to
Website: www. and July, the team publish ‘themed but no reprints or multiple subs. artwork.shooterlitmag@gmail.com.
mandrakejournal. issues in winter and summer, and Submit by email. Attach files and The deadline is 20 November.
com runs competitions for short fiction include a brief biography in the Response time is ‘within two
during winter/spring and poetry body of the email. Don’t forget full months.’ Payment is £25 per story
A Message from
during summer/autumn.’ They also contact details. Save files in Word and £5 per poem. Stories under
Ukraine, Volodymyr
Zelensky’s
run a monthly flash contest online. format, please 1.5 or double space, 2,000 words pay £5. Artists will be
collection of war Currently the team seek and put a word count at the end of paid £25 for first rights for print and
speeches, will submissions for the winter 2023 the prose piece. The team also seek online/ebook publication.
be published on issue. The theme is: ‘On the Body.’ original artwork for its covers. Artists Website: https://shooterlitmag.com
24 November by
Random House
imprint Hutchinson
Heinemann. All
INTERNATIONAL PRINT MARKET
the President’s
proceeds will be Weird wanderings
donated to the
United24 run by
the Ukrainian
PDR Lindsay-Salmon
government to
The editorial team at The Wandering Wave Press story in Word format – double-spaced, 1-in. margins,
collected charity
donations.
need submissions for their anthology: An Anthology of 12pt. Times New Roman font, header with page
Unconventional Stories. The team are looking for ‘genre numbers and story title – and don’t forget a cover page.
Sri Lankan authors who cross boundaries.’ They want ‘Authors Put the story title, author, contact email, word count,
author Shehan whose stories twist the tropes to showcase in a cross-genre genre(s), and a brief (under 200 words) statement of why
Karunatilaka has anthology of stories that entertain, but read fresh and you think your story fits the anthology’s theme on the
won the 2022 new.’ These stories, 1,000 to 10,000 words, will be ones cover page. A writer’s C.V. is welcomed.
Booker Prize for his difficult to classify into a single subgenre, or that push Deadline 1 December. Response time is ‘reasonable.’
novel The Seven against the genre’s boundaries. No reprints or multiple Payment is US$25.
Moons of Maali subs but simultaneous subs are permitted. Email the Website: https://wanderingwavepress.com
Almeida. He was
presented with the
£50,000 award by Get it write now
HM Camilla the Submissions for the next round of The WriteNow programme has based in the UK and coming from
Queen Consort at
WriteNow, Penguin’s development been designed to give writers the a background or community under-
a ceremony on 17
October.
programme for new writers from tools to navigate the publishing represented in publishing. To apply, send
under-represented backgrounds, industry and launch successful careers a 1,000-word writing sample.
Nazanin Zaghari- opens on 7 November. This round as authors. Writers accepted on the Submissions are open until 8
Ratcliffe is to is for commercial fiction, with programme receive a free workshop, January 2023.
co-write a memoir writers invited to submit in the feedback, year-long editorial Website: https://www.penguin.
of the six years she genres of crime, thrillers, family development and £1,000. co.uk/company/creative-
spent imprisoned drama, comedy, romance and love Writers applying for Write Now responsibility/writenow/this-years-
in Iran with her stories. should be unpublished, unsigned writers programme
husband, Richard
Ratcliffe. The
book, currently
untitled, is due to
Sports book contenders
be published in The longlist for the 2022 William Hill Sports Book Shine with Gareth Maher; Phil: The Rip-Roaring
autumn 2023 by
of the Year 2022 is: Be Good, Love Brian: Growing (and Unauthorised) Biography of Golf ’s Most Colourful
Penguin Random
House.
Up with Brian Clough, Craig Bromfield; The Master: Superstar. Alan Shipnuck; Expected Goals: The Story of
The Brilliant Career of Roger Federer, Christopher how Data Conquered Football and Changed the Game
Clarey; 1999: Manchester United, the Treble and All Forever, Rory Smith; Unforgettable: Rugby, Dementia
‘Strange things That, Matt Dickinson; Le Fric: Family, Power and and the Fight of My Life, Steve Thompson; Beryl: In
happen when I sit Money: The Business of the Tour de France, Alex Duff; Search of Britain’s Greatest Athlete, Beryl Burton; Jeremy
down and write. I Love This Game, Patrice Evra; England Football: The Wilson; Two Brothers: The Life and Times of Bobby and
It’s like time moves Biography: 1872-2022, Paul Hayward; God is Dead: Jackie Charlton, Jonathan Wilson; A Woman’s Game:
at a different pace.’ The Rise and Fall of Frank Vandenbroucke, Cycling’s The Rise, Fall and Rise Again of Women’s Football,
Lemn Sissay Great Wasted Talent, Andy McGrath; My Hidden Race, Suzanne Wrack.
Anyika Onuora; Scoring Goals in the Dark, Clare The winner will be announced on 1 December.

78 DECEMBER 2022 www.writers-online.co.uk


INTERNATIONAL
MAGAZINE MARKET
Solve this riddle
Jenny Roche
Published four times a year, the Newfoundland and Labrador based
Riddle Fence magazine contains previously unpublished works of
fiction, non fiction, poetry, visual art, reviews and features from
writers worldwide. Simultaneous submissions will be considered
with the usual proviso.
Non-fiction essays can be on the arts, particular artists or culture
and art as an idea or a cultural practice. Creative non fiction with
a strong narrative drive is also wanted. The word count for fiction
and non fiction is 3,000 or a little longer ‘if it is brilliant’.
For poetry submit no more than 10 pages of 3-5 poems with
each poem on a separate page. Include them in a single, preferred
Word document (.doc), attached to an email.
With all submissions include a cover letter with your name
and contact details, the title/s of your pieces and 1-3 lines of
biographical information on your writing career.
Payment rates are CA$30 per published page for first serial rights.
There are different email addresses for different submissions:
rffiction2018@gmail.com; rfpoetry2018@gmail.com;
rfnonfiction2018@gmail.com
Website: www.riddlefence.com/submissions
Blue 4eva wins big
Saba Sams, who was featured in WM’s My Path to Publication slot
the March issue, has won the BBC National Short Story Award with
Cambridge University 2022 for Blue 4eva, which was taken from her
acclaimed debut short story collection, Send Nudes.
Saba was presented with her £15,000 prize by chair of judges
Elizabeth Day on BBC Radio Four’s Front Row. ‘When I first
read Blue 4eva, I was engrossed by its transportive atmosphere,
its masterful telling of complex family dynamics and the sense
of building tension,’ said Elizabeth. ‘Saba Sams is adept at
wrongfooting our assumptions, creating a set of unique, multi-
dimensional characters with rich internal lives, and viewing it all
through the lens of a 12-year-old girl. It’s such an achievement
to be able to do that in under 8,000 words. I loved this story
from the moment I read it and can’t stop thinking about it even
now. I’m delighted we found such a worthy win.’
‘It’s very special to have Blue 4eva – a story I’ve been working
on, in one way or another, since I was nineteen – be given
this kind of esteem,’ said Saba. ‘I first wrote Blue 4eva in rainy
Manchester when I was a student, though it was very different
then. The story was very short, more of a vignette, but I had
fun with it. When I was writing Send Nudes a few years later, I
returned to the story and started working on it again. I’m always
thinking about what it looks like to be a young woman: about
bodies and power, about friendships and family, about the ways
we’re constantly looking to break free. Blue 4eva engages with
sexuality too, particularly with queerness, in a subtle way that I
found interesting to write.’
E L W RI
V T
IN
TR
G
N
W
K
O W-H O
While we
were away
Patrick Forsyth looks at writing
about what went on while travel was
off the agenda
rriving at Heathrow not long ago, it was
A
apparent that some elements of the travel
industry remain in a post-Covid chaos of delay
and seeming disorganisation. The impression
given to visitors arriving here must be appalling
– sorry, I must resist a rant! Nevertheless, in recent months
many people seem to be catching up on after a Covid-dictated
period of travel not being possible. In many cases people
saved money during the pandemic; I spent little or nothing on
holidays for some two years.
Places dependent on tourism have suffered and this presents
an opportunity to write about what might be called the non-
travel side of travel. In Thailand, where I holidayed recently,
things are gradually getting back to normal and the complex
entry requirements of recent times have been relaxed. Visitor
numbers are climbing. Some numbers illustrate the impact.
Before Covid, Thailand welcomed more than 20 million
tourists each year. In 2021 the number did not even hit one
million and of course many places around the world (and at
home) experienced something similar. One can imagine the
impact on individuals.
On the island of Phuket, we found ourselves in a favourite
restaurant on its first day open for many months. Talk about
a welcome! The young couple who run it were delighted to be
welcoming people in again; they made it a meal to remember.
The man had been working on a farm for many months, while
they struggled to keep their finances in a state that would
prevent their restaurant closing forever. Some businesses were
still closed. We saw signs reading, ‘For sale’ and ‘To rent’, and
others saying, ‘New business coming soon’. In the latter case the
thought appeared more optimistic than the state of such notices
suggested; they appeared to have been there a long time.
There were so many tales. Some small businesses had
struggled on, their owners supported by family or by doing
other work on the side. Hotels might have remained open,
with some facilities closed and reduced numbers of staff
struggling on reduced salaries. Large businesses, like one
hotel we stayed in, had done necessary maintenance and
refurbishment work during the hiatus. For some people it had
forced an unwanted change of career; one taxi driver we came
across had been the accountant in a hotel now closed
for good.
Some stories were surprising. My Thai friend Siripan (the
author of Everyday Thai Cooking) is long retired. But she had
just opened a small café, saying ‘It was so boring in lockdown,
what else was I to do?’ Such tales, good and bad, are a rich
seam for the writer.
DECEMBER 2022 79
WRITERS’ NEWS

UK NON-FICTION MARKET
Picking up speed
Tina Jackson

Velocity Press is a independent publishing

house run by Colin Steven that specialises
in books on club culture.
‘Velocity Press curate the best writing in
electronic music and club culture – with all
the care, creativity and community ethos
of an independent record label,’ said Colin.
‘Nearly all of my books are non-fiction but
I’ve published one fiction title so far and
I’d like to do more. Most of our titles are
paperbacks but I’ve also published a few
beautiful coffee table books. I’ve been really
busy the last few years, I’ve just published
our nineteenth book.’
Formerly a club culture journalist, Colin
set up Velocity Press and published its
first title in October 2019. ‘I previously
published an award-winning drum & bass
magazine called Knowledge for 20 years,’
said Colin. ‘During that time I published
a book called All Crews: Journeys Through
Jungle Drum & Bass Culture by Brian Belle-
Fortune. The internet killed off the physical
magazine in 2009 but we soldiered on as a
website and the book kept on selling.
I missed the physical days and rather than
launch another
magazine I
decided to start
a new book
publishing
company.
We’ve been
really busy the
last few years.’
Velocity
Press publishes
six titles a year, all in its specialist
arena. ‘Velocity Press is all about the
documentation of dance music and club
culture, and specifically the way that
history has been chronicled,’ said Colin.
‘I’m looking for stories that haven’t been
told, airbrushed out of the dominant
narrative or simply overlooked.’
He’s happy to hear from writers with a
substantial lived experience in dance music
culture. ‘Culture should be documented
by those with authority, and there are
two ways of gaining this: either by lived
experience/being a part of the culture being
documented or by doing so much work and
research that you become the authority.’
In the future, Colin wants to ensure club
culture’s community vibe is part of Velocity
Press. ‘Building a community around what
we do is important and I’d also like to do
more events, particularly festivals. Every
Velocity Press event is a celebration of the
culture, bringing our writers, editorial team
and community together to explore the
stories behind the stories via interviews,
panel discussions and great music. An
opportunity for industry networking, idea
generation and – of course – a party, they’re
as important to the Velocity Press ethos as
anything I publish.’
To submit, show Colin that you know
your stuff from the inside.
‘At a bare minimum send a short
synopsis plus some background on who
you are,’ he says. ‘A separate breakdown of
chapters is useful too as are a few chapters
if you’ve already started writing it.’ Submit
by email.
Velocity Press publishes in physical and
ebook formats, and pays a royalty split.
‘Velocity Press operates more like an
independent record label in that our deals
are a 50/50 split after costs,’ said Colin.
‘I view our relationships with authors as
more of an equal partnership.’
Website: https://velocitypress.uk/

Mysteries for Margery

Win £500 for short mystery fiction in the The Margery
Allingham Short Mystery Competition 2023.
The CWA and the Margery Allingham Society’s annual
short fiction contest for short stories that satisfy Golden Age
crime writer Margery Allingham’s definition of a mystery has
run every year since 2014. The definition is: ‘The Mystery
remains box-shaped, at once a prison and a refuge. Its four
walls are, roughly, a Crime, a Mystery, an Enquiry and a
Conclusion with a Element of Satisfaction in it.’
Enter original, unpublished mysteries up to 3,500
words. International entries are welcomed.
The winner will receive £500 and two tickets to
CrimeFest.
The entry fee is £12 per story.
The closing date is 18 February 2023.
Website: https://thecwa.co.uk/awards-and-
competitions/margery-allingham-short-mystery-
competition

Support in the south west

Young and Talented Cornwall has launched a
new creative writing award for young writers
aged between 16 and 23.
Selected writers will win mentoring with an
established writer based in Cornwall, an award
of £1,000 and a reading award of £150 worth
of books.
To apply, young writers must be resident in
Cornwall or the Isles of Scilly.
To apply, send a writing sample of up to
500 words and a personal statement.
Entry is free.
The closing date is 16 January 2023.
Website: https://
youngandtalentedcornwall.org/

80 DECEMBER 2022 www.writers-online.co.uk


Helen Fields
The barrister turned crime novelist tells Lynne Hackles
about turning the pressure up and writing in bursts
elen Fields was a criminal barrister and
is now the best-selling author of ten
crime fiction novels. As a barrister, she
wasn’t writing fiction but says there
was a lot of other writing involved.
‘Writing an opening speech to a jury, setting out the
case coherently but in an interesting way,’ she explains.
‘Composing a closing speech, fashioning the facts
the way that best promoted my case. Preparing cross-
examination questions to expose case weaknesses. All of
that had to be done under time pressure and to a high
standard. Not so much has changed.
‘Now my day is structured around my family. We get
our three children out to school/college, then he goes to
the gym before work, and I get the house straight. Only
then do I sit down to write. I don’t concentrate well
in chaos. Typically, my writing time is from 9.30am to
2.30pm. Limited available hours help focus my mind. If
I don’t have pressure to achieve, my focus wanders. I set
myself a daily word count, typically 2,000, Monday to
Friday. Evenings are busy – I do ballet, Zumba, and love
walking – so those hours are out of bounds.
‘Interruptions are inevitable. Switching off the phone
isn’t an option so now I’m pretty good at working in
short, fast bursts. As long as I get a good hour at a time
to concentrate, I can normally achieve what I need to.
I also naturally work in bursts. Even when there aren’t
interruptions, I’ll write a few pages then put the dishwasher
on, write a bit more and water the plants and so on.
‘I’m ashamed to say the first thing I do when I switch
on the computer is turn to social media, the great eater of
time. Then it’s an online word game that my daughter and
I do independently and share our scores (it gets fiercely
competitive). Emails next. Work comes last, because I have
to know there’s nothing else waiting for me when I dive
into whatever fictional world I’m living in at the time.
‘I spend a lot of time promoting my books. That
involves promoting whatever book has just come out, or
is about to come out, then there’s keeping a high profile
between books. That’s where social media is at its best,
and it’s more about keeping up to date with what’s going
on in the writer/reader community, joining in the current
conversations, reviewing other books. This amounts to
another hour a day, often early morning or evening so it
doesn’t cut into my writing time.
‘I’ve always loved writing. As soon as I could write
www.writers-online.co.uk
M Y W R I T I N G D AY
properly, I was putting together little books, collections
of poems, writing songs and plays. It was all I wanted to
do until I got to university and studied law. After that,
being a barrister was all-consuming. When I had children
I rediscovered my love of writing, and began to consider
whether or not I might be able to get published. Even
then, it seemed to be something that other people did.
These days I’m lucky enough to write full time.
‘I use my former career as inspiration and quite often
base aspects of different characters on people I came
across. The areas where I’m careful to keep up to date
are forensics, technology and specifics like ballistics.
Those aren’t my subjects so I read a lot to make sure I’m
presenting a realistic picture to my readers.
‘My latest book, The Last Girl to Die, is set on the
Isle of Mull off the west coast of Scotland. It features
a new protagonist, Canadian private investigator
Sadie Levesque, who’s called to Mull to find a missing
teenager but who ends up investigating a series of
murders leaving her alone and in danger. The themes
of the books are myths and witchcraft. Scotland has
such a rich history, and Mull itself is full of ancient
tales, so it was easy to get inspiration. I don’t live in
Scotland, but do spend a lot of time there every year,
visiting every couple of months on average, and I
always come away with new books ideas.
‘Currently, I’m editing the book that will come out in
March 2023, called The Institution. It features a protagonist
I wrote about in The Shadow Man, Dr Connie Woolwine,
who’s a psychological profiler. In the new book, she goes
undercover in a high security psychiatric unit to figure out
who killed a nurse and kidnapped her baby.’
WRITING PLACE
‘I have a small desk set up on a mezzanine area of our
lounge. I keep it surrounded by plants, my mouse mat
has an image of Edinburgh Castle on it, and I have one
of those seats where you rest your knees on a cushion in
front to keep my back upright. The space is functional
and basic, but still comfortable. When I need more life,
I’m out of my front door and only thirty seconds from a
handful of cafés and gardens, so I split my time between
working at home and working in public spaces.’
DECEMBER 2022 81
UNDER THE COVERS
OCCUPATIONAL
HEALTH HAZARD
Gillian Harvey is relieved to discover writers’ brain fog is an actual scientific thing
s I sit wearily in the chair opposite my GP, I
experience a familiar feeling of déjà vu (side
note: is it possible to have déjà vu about having
déjà vu?).
She looks at me.
I look at her.
‘I just feel so tired all the time,’ I say.
‘You have five children,’ she says. ‘Plus you work.’
‘I know.’
‘You have an under-active thyroid.’
‘Oh, thyroid smyroid… I take the medication..!’
‘You’re in your forties now…?’
‘How DARE you!’
I mean, there’s no need to get personal, right?
For years, I’ve been wondering why I feel so fatigued in
the afternoons. I try, as much as possible, to reserve writing
work for the mornings – when my brain feels more fired
up – and always resolve I’ll get all the ‘other stuff ’ done
(like, you know, cleaning and organising and household
chores and having a shower and grocery shopping and eating
something) in the afternoons.
But inevitably, in the afternoons, I find I’m like a wrung-
out rag. Useless, leaden and pretty much ready for the bin.
It’s hardly surprising that I’d begun to feel something was
wrong with me.
My husband, too, was perplexed. Being of the more
practical bent, he couldn’t understand why (as he so nicely
put it) ‘four hours of sitting on my a***’ could render me
completely spent.
(Another side note: why do people say ‘sitting on your
a***”? Has anyone ever sat using any other part of their
anatomy? Is it particularly lazy to perch on your posterior?)
Anyway, both me and my long-suffering doctor can now
afford to breathe a sigh of relief. Because finally science has
come up with an answer that will both ease my worries and
silence my critics (aka him indoors).
A study published in Current Biology in August revealed
that working on mentally taxing assignments appeared to
raise the level of glutamate in the brain.
So there you go. I have TOO MUCH glutamate from all
the excess thinking.
What is glutamate? I hear you cry. Apparently it’s a
82 DECEMBER 2022 www.writers-online.co.uk
molecule that can disrupt brain function.
In short, that fatigue you feel after writing and
concentrating for a morning is both not ‘all in your head’,
and, well, all in your head. It’s not you, you are not lazy, you
do not need to become a doctor botherer like me. It is not
the fact that you choose to sit on your bottom or any other
physically available body part.
It’s that pesky glutamate.
Great! You respond. So, tell me. What can be done to rid our
brains of the glutamate. Is there a pill? Do I need to tip it out
of my ear? What if I bang my head repeatedly on my desk?
Or is the answer to the crushing fatigue simply the usual
prescription: more coffee, more chocolate and an early night?
Well, science isn’t sure yet.
Perhaps we just have to accept it as a side-effect of being
brilliant. But it could be that a rest, more frequent breaks or
even a nap might help.
For me, just knowing that the post-writing brain fog is
normal has helped. I’m trying not to expect so much of
myself, and trying to get my head around the fact that even
though I’m sitting on my posterior, I’m also working my
posterior precuneus – and you know, that’s pretty tiring.
So if you’re an early bird like me and like to get your
2,000 words fired off first thing, don’t be too hard on
yourself if you find you’re dropping off in front of Bargain
Hunt in the early afternoon. Or if you have to spend a few
hours on research, maybe factor in a quick power-nap before
heading to your day job.
As for me, I’m probably not going to change very much
about my schedule. Like most busy people, there really isn’t
much wriggle room in my daily agenda. But I am going to
be a little gentler with myself – more frequent breaks and
less self-flagellation.
Plus if Ray decides to question the fact that I’m slumped,
dribbling on the sofa after a hard-morning’s writing, I now
have science on my side.
‘Don’t blame me,’ I’ll slobber. ‘It’s the gluta… the glu…
the glutamate.’
After all, what’s the point of science if not to justify my
need for coffee, chocolate and sofa slumping? And what
better cure for excess glutamate than to make good use of
your glutes?
 in the
Writing MAGAZINE
Grand FlasH Prize 2022
The open competition invites your short Stories will be judged by the Writing
stories in any form, on any topic. Magazine editorial team and the winner
published in Writing Magazine
The only stipulation is that your story
should be a maximum 500 words.

Runners-up prizes are £250 for second,

£100 for third, a WM Course mini-critique
for fourth and a twelve-month subscription CLOSING
for fifth.
DATE:
31 DEC
ENTER NOW:
Online, at
https://writ.rs/1k2022
The entry fee is £15, or £10 for Writing Magazine subscribers. Your submissions should be in a single
document, with your contact details on the first page.
 How to Make the Most
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