Literary DNA

Thirteen years ago, I travelled to Fowey in search of the house that had inspired Daphne Du Maurier to write Rebecca. On that occasion, I borrowed the novel from a library to compare text with findings. When I purchased the book several years later, I was surprised to discover that particular edition didn’t contain a disclaimer.  I presumed they had omitted to include this because the characters were based on real people. Maybe it wasn’t a coincidence that the protagonist resembled the author herself? Daphne Du Maurier began writing Rebecca when she was living in Alexandria, the dutiful yet reluctant wife of an army officer [1]. Homesick and living in strange surroundings, Du Maurier must have been suffering the same feelings of inferiority that plagued the new Mrs de Winter in Rebecca.

Surely, all authors must draw on personal traits and experiences? It is, after all, the easiest way to write a novel. Agatha Christie, a pharmacist who married an archaeologist, was clearly inspired by both these subjects. Similarly, I can not imagine an author's work would not be influenced by a personal tragedy. The impact of Branwell Bronte’s addictions is evident throughout his sisters’ work. I remember staring at Branwell’s portrait of his three sisters and being mesmerised by the ghostly apparition between Emily and Charlotte. This fuzzy self portrait is now understood to have been a conscious decision by the artist to remove him self from the painting. It seems as if he felt unworthy within their company when in actual fact he was the creative force behind the family. You could argue that Branwell was their greatest influence.

Every year, thousands of tourists visit Haworth and the surrounding area in search of Bronte inspirations. There are so many other writers that we associate with particular locations: Christie’s Devon, Du Maurier’s Cornwall, Dickensian London... the list is endless. It doesn’t have to be limited to a county either; for example, when I think of Wilbur Smith, Africa comes to mind. Whether authors focus on a particular county or continent, the one common factor seems to be that these places hold some significance in their life. Maybe, the settings are based on the place where they currently live, have lived, or would like to live. They may have gone there on vacation? Perhaps it was a childhood haunt? Whatever is the case, most authors stick to what they know. Why opt for some random place you’ve never been to before? You might be able to create authenticity during a one-off research trip, but is it really worth the time and effort, when you could have chosen somewhere far more familiar?

The sources for the Bronte novels are widely contested. It seems likely that Shibden Hall near Halifax was the inspiration for Thrushcross Grange (the Linton’s home in Wuthering Heights) and High Sunderland Hall where Emily Bronte worked as a Governess is similar to Lockwood’s description of Wuthering Heights. However, there are other buildings that could have been inspirations for Wuthering Heights, such as Ponden Hall and Top Withens.

Ponden Hall also resembles Thrushcross Grange [2]. Sometimes, it makes sense to create a single fictional setting from a mix of real locations. I amalgamated the view from my window (the woods and snicket) with another location that was prone to landslides and flooding; both of which were essential plot requirements. If I had stuck with the view from my window, the corpse would have had to find her own feet and walk through the woods to the nearest flooded field. You can’t mix up forensic science, but you can play around with location.

The de Winter’s home in Rebecca was a combination of sources. Du Maurier based Manderley on both the estate of Menabilly (near Fowey) and Milton (near Peterborough) [3]. Following my visit to Cornwall in June 2004, I was in no doubt that the infamous first lines of Rebecca were inspired by Du Maurier’s first visit to Menabilly.  I retraced her footsteps with only the novel and an inadequate map as my guide. The first encouraging sight was a gatehouse, which resembled the “uninhabited” lodge in the first paragraph. Beyond this, a long winding driveway that matched the ‘twisting and turning’ drive on page one. [4]

After consulting the map, I realised that there was a public footpath leading to the beach and this might allow access to the rear of the house. We parked on the next turn off and made the rest of the journey by foot. I recognised Menabilly Woods immediately from Du Maurier’s descriptions and knew I was on the right path. I saw fields on the edge of a coastline and a sky full of gulls; a scene reminiscent of Hitchcock’s depiction of Du Maurier’s short story The Birds. I felt an overwhelming urge to march on ahead. Clinging onto the hope that I might catch a glimpse of the grounds, perhaps even the house itself.

I stepped out of the woods onto shingle and sand. Rebecca’s boat house was easily recognisable; perched on a hill to the right of the cove. However, I felt compelled to walk in the opposite direction, along a grassy verge, towards a long lawn and Rhododendrons. In the novel, the house had been destroyed by fire. What I saw at that moment was Manderley rising from the ashes, well tended and far from dilapidated. Du Maurier’s descriptions had come to life. This place had her DNA all over it.   

Bibliography:

[1] Enchanted Cornwall [Penguin Books Ltd. 1989 p127/8]

[2] Wuthering Heights, by Emily Bronte [First Published 1847, republished Penguin Popular Classics 1994]

[3] Enchanted Cornwall [Penguin Books Ltd. 1989 p19]

[4] Rebecca, by Daphne Du Maurier, [First Published 1938, republished Virago Press 2003]

 

 

HUNGRY AMBUSH PREDATOR WRITERS

                                                       

For this blog I could have used an inanimate object to get my point across; a submarine with raised periscope and sonar intermittently pinging. However, a cold blooded living-being is perfect for what I have in mind. This is no Ladyfish. I’m thinking of slippery eels - the gulper and swallower types. Perhaps a Large Scale Four-Eyed or the poisonous Toadfish; be it prickly or pale.  I want you to imagine this creature lurking in the abyss. It feels quite at home in this murky underworld, stooping low, plumbing the depths of desperation.      

Patrica Highsmith once said, “I cannot think of anything worse or more dangerous than to discuss my work with another writer. Their invisible antennae are out for the same vibrating in the air – or to use a greedier metaphor, they swim along at the same depth, teeth bared for the same kind of drifting plankton.”

Unfortunately it is not uncommon for both published and unpublished writers to discover their work has been copied. I know of several published authors who have discovered their novels online, under another person's name. From what I can gather the best advice is to register publications with www.blasty.co . This website claims to, "Monitor Google for illegal copies of your content and remove them with 1 click." But how can an unpublished author protect their work?

Ideas and themes are not protected in UK law, so keep extracts on websites to a minimum. If you don't plan to self-publish you’re in for the long haul. Offers don't come knocking on your door. Agents and publishers don’t have the time or inclination to search for the next best thing. It isn't their job to trawl oceans looking for a lucrative catch. You have to tout your next project. But how do you do that without risk? It’s important to fathom who you can trust before sending submissions. Time-stamp everything, then get out and meet everyone who is anyone.

Networking events are only productive if you have the courage to approach the professionals in attendance. Competition winners usually benefit from introductions. Depending on the award, you could meet the right people at ceremonies or book launches. Don’t miss out on these opportunities. Apply for a travel grant if money is tight. If an introduction isn’t an option you could attend an intimate agent/publisher led course. Whether you are sussing out agents or editors, ask yourself if this person would represent you to the best of their ability and if not, why not?

Don’t discuss your work in public. If an agent/editor asks about your novel, keep the pitch short - no more than a tantalising blurb. Always be quiet and discrete. You never know how many writers are homing in on your ideas.  I’ve seen them acting fishy at conferences. You're bound to catch one or two loitering around festivals with their radars on full alert. Keep your eyes on the look out for hungry ambush predators. Patrica Highsmith knew what she was talking about.

Book Launches and Reading Events

Since my short story made it into the ‘Northern Crime One’ anthology, I’ve been meaning to write a series of blogs about my experiences as a newly published writer. All three blogs will contain a Patricia Highsmith quote, because she was far more qualified to teach crime writing than I.  After eight years of working out my niche in a commercial market and creating a portfolio of ‘domestic noir’ manuscripts, I realise there’s still a long way to go.....

 

POST PUBLICATION BLOG No. 1: BOOK LAUNCHES AND READING EVENTS.

 

 Wallsend, Newcastle where the second ‘Northern Crime One’ book reading event was held

 

For the first two book readings it was reassuring to know that Moth Publishing and New Writing North were in charge of publicity, ticketing and book sales. The encouragement of new writers at the two venues (Newcastle Central Library and Customer First Centre, Wallsend) was obvious and much appreciated. Both audiences were generous, warm, complementary and forgiving of my nervous performances. At the 'Northern Crime One' launch (my first ever public reading event) I was pleased to meet everyone and honoured to be there, but the sight of the lectern in the middle of a large empty stage filled me with dread.

I stepped onto the stage slowly and carefully, aware that my jelly legs could give way at any moment. There I stood in front of a packed house, staring at the anthology that I’d pinned to the lectern in an attempt to maintain control over flapping pages and shaking hands. I must have glanced up because I recall a mass of heads. I didn’t take notice of any expressions for fear of seeing anyone yawning. I stopped myself from doing an exact head count, rounding each row up to 10, multiplying by 10 and fretting because that estimation came to quite a lot; much more than I’d expected - a lot of people to disappoint.  I did not dare look up again until the end of my reading, otherwise I would have been distracted and lost my place on the page.

Although I’d rehearsed my introduction, I couldn’t help but make a few last minute adjustments. This kept the adrenalin going and my brain alert, which resulted in a better performance out of the two. I had to describe my novels as well as the short story extract that I was about the read, but more than anything else, the introduction had to be succinct and not send anyone to sleep. Suddenly, something came to me: ‘My protagonists are normally unreliable, but this one’s a reliable psychic.’ I heard a few people laugh. This intended reaction broke the ice and settled my nerves - for a few seconds at least.

I made mental notes: keep pausing for breath, pay attention to punctuation, make sure the delivery is not too fast or too slow, hold your head high, don’t slouch and resist the temptation to speed read. I bit my tongue to stop myself from apologising in advance and read on.  At the end, I looked up and thanked everyone for listening. I think they might have been applauding at the time...

                                                                        

What really surprised me was that I felt more nervous at the second event. Maybe it was the sight of the stage: two chairs, a clip-on mic and no lectern to hide behind? I perched on the edge of the chair, unable to hold the anthology; my nervous disposition clearly visible to all in attendance.  The reading went as well as could be expected, but when the compere began to ask questions my brain went into overload. Unfortunately all sorts of things were racing through my mind; everything except the correct answer.  The question was simple: “When did you attend the Arvon course?” I blurted out the first date that came to me; some random year from the 1980’s. Then to make matters worse I had a stab at another, which happened to be my daughter’s birth year, eighteen years before the aforementioned writing course. I bowed my head in shame and weakly revived the situation by announcing that it was a long time ago. For some reason I felt it was necessary to waffle on about the novel writing course; something on the lines of ‘You cook and eat together, attend workshops and one-to-one tuitions in a beautiful house in beautiful surroundings so you can go on nice walks.’  I must take this opportunity to apologise for the poor excuse for an advertisement, so I’ve made up by posting a gorgeous photograph of Lumb Bank.  

 

 

My answers didn’t get any better during the Wallsend event. When I was asked about my stint in the Special Constabulary, I said I’d thought it would be like Charlie’s Angels, but it wasn’t. I was too soft to make it as a regular, but I was interested in the whole police procedural thing, which is why I went onto study criminology....All the while I was praying that no one would ask when I went to university, because I’d gone completely date-lexic by then. The ground did not swallow me up as I’d hoped, but it wasn’t all bad. Both events were invaluable experiences for any newbie.   

I informed the audience at Wallsend that I’d spent quite a few years building a ‘domestic noir’ portfolio. My short story had been adapted from my second novel, ‘Ghost Towns’. I changed the female narrator from the mother of a victim into a psychic, which allowed me to examine the dead victim’s POV.  I enjoyed playing around with different approaches to writing crime. Ideas are precious, which is why all my work is documented, time-stamped and filed so that I may go back and use them at a later date. I might decide to rearrange plot outlines, take something from one novel and transfer it into another medium or split a manuscript in half - two for the price of one.  As long as my portfolio is full of decent material the only thing I need worry about is the next reading event......

 

”In the barren periods, one should browse through the notebooks. Some ideas may suddenly start to move. Two ideas may combine, perhaps because they were meant to combine in the first place” Patricia Highsmith

 

DON'T SHARE YOUR SWEETS! Beware of sending work off for dubious critiques.

In unpublished circles and the newly published set, writers have one thing in common - their heads are bulging with ideas. They can’t imagine such a thing as a published author suffering from creative deficiency; desperately searching for a little spark of inspiration....

When I think of being deficient in something I recall a particular period in my life when I was a stone heavier, off coffee and consuming dolly mixtures by the truck load. If we are to assume that cravings in pregnancy are linked to a deficiency in diet then I can only guess I needed a sugar rush. I have heard that if you get a taste for something in particular during those long nine months it will turn out to be your child’s favourite indulgence. Perhaps the foetus is developing a liking for whatever Mum is devouring?  Anyhow, sure enough, my son has a penchant for sweets. He’s not fussy, whether they’re weighed out from jars, in packets or tubes. I spent most of his early years at Woolworths, scrambling around, cupping my hands to catch stray Pick 'n Mix.  Nowadays you don’t need to get them weighed at the counter - just pay for a cup and fill it to the brim. Some experts choose carefully, ignoring the spherical gob stoppers and going for the smaller flat options - cramming as much in as you can get away with. I’ve seen them craftily holding the lid firmly down, pretending they’ve not stolen more than they should have - an innocent, childish deception. However, not all deceptions are this endearing.  

I often wonder if some published authors who suddenly offer to critique work might have an ulterior motive to ‘pick and mix’ someone else’s ideas?  Even if these short-term editorial services are provided without that intention, it is a sure fire way of subconsciously plagiarising work. I remember reading a novel that was very atmospheric and Dickensian.  Before long, someone pointed out that I’d been replacing the word because with for, both in emails and texts. I’d got no idea I’d been writing ‘ye oldie English’, but it had been going on for over a month. This is the reason why you shouldn’t read your genre when writing. Crime writers should choose something comedic during the months they’re plotting a murder - clear your mind of blood and gore.  

I think it’s a good idea to attend talks and lectures when you're working on your next project.  There’s nothing more productive than a small workshop. If you can afford it, pack yourself off to a writing retreat. All writers crave solitude.

Many published authors complain about not having the time to write their next novel because of publicity obligations. So alarm bells should ring if a working author suddenly runs a competition or sets up an auction to critique work. You don't want your work to end up in their next book! It doesn't matter if this is deliberate or unintentional. It's your baby not theirs! 

Question why a working writer is doing this? What, for example, is forcing them to ask for a particular theme? Don’t be tempted to send work off for dubious critiques. Don’t share your sweets! Even if you think this might be the only road to publication – it isn’t. Pick a reputable editorial service that comes with a recommendation from The Society of Authors. Mix in a few workshops, talks and conferences. Be patient. Your day will come. I’m rooting for you.

Be Prepared!

 "I’ve found the best way to revise your own work is to pretend that someone else wrote it and then rip the living shit out of it.” Don Roff

I have recently worked with an editor on my short story, which won a place in the Northern Crime One anthology. I’m extremely grateful to have had this experience. For many reasons, this has proved to be the perfect way to take that first step into publishing. I have come to realise how daunting it would have been if my first contract had been for a novel instead of a short story. I advise everyone mid way through the trials to delay novel submissions. Opt for articles, blogs, and/or a short story in a magazine, then try to get published in an anthology.  Do not jump head first into novel publication without any other experience.Take a little leap off the spring board rather than diving in from a precarious height. It might make less of a splash, but it’s better than producing an embarrassing belly flop.

I’ve spent years earning my apprenticeship, overcoming every trial that ever came my way, so I should have cracked open the Champagne the minute I became a Northern Crime Competition winner. However, after years of rejection this news came as such a surprise. I was in a state of shock, checking and re-checking the congratulatory email, wondering if it was someone’s idea of a sick joke.  When I realised it was authentic and that my work was finally going to be published, I started to look over my prize wining entry and (to quote Don Roff) - “rip the living shit out of it”. 

I penned my first novel in 2000, but the announcement that a short story (I’d submitted in 2014) was going to be published before the end of 2015 seemed to come all too suddenly. I’m sure I would have been a physical wreck if this had been an 80,000 word novel. Imagine, how many hours of sleep I would have lost going over and over that! And I would have gone over every single word a zillion times, because I now know how much it means to get your breakthrough publication right.

If you are like me, you’ll have been writing since a very young age, but only a few people will have read your work.  So when something of yours is about to get published, you become really anxious, expecting your work will be subjected to heaps of criticism instead of praise. Suddenly, someone out there might not like what you write. Any Tom, Dick or Harry can post a negative tweet or write a 1 star review. They have the capability to make you the laughing stock. The world will start to question why you’ve spent so much time working on pointless reams of shite. And the more you scrutinize your first published piece of work, the more you begin to believe your imaginary critics. By now you’re convinced your life isn’t worth living.

 

It is at times like these you might ask yourself that same old question - Who in their right mind would do this to themselves? The answer is that we are born writers. This compulsion comes to us at an early age. Mine began with lengthy notes slipped under my sister’s bedroom door. I illustrated the prose back then too. I was grateful for 'free ethos' infant’s education, so I could ignore mathematical subjects to concentrate on poetry and story writing. By the age of about 9, my work was leaning towards the crime genre. I’m not sure if it was appropriate, but I submitted my debut five page ‘horror/suspense’ book for the Girl Guide’s writing badge. I subsequently revised this for English homework, which showed an early inclination to edit and revise.  This piece of writing moved my teacher so much that she added a little note at the bottom of my work - something on the lines of, 'extraordinary' and ’inexplicable’! I did have friends back then - lots of them. I know this might come as a surprise, especially when you consider how I spent my spare time: burying dead frogs, discovering abandoned bleaching mills, roaming moors and writing about murder.    

 

I was a good friend. I pride myself on my ability to empathise. However, I never once put myself into the situation of waiting for my short story to be published. I presume I’d resigned myself to thinking it would never happen. So when the press release arrived with the names of other writers that were in the anthology, I felt sick, hoping my contribution wasn’t going to let the side down. The nausea didn’t subside until my short story received positive feedback. It wasn’t until that point when the achievement finally sank in and I started to feel really rather proud.

 

Readers are going to be subjective. Not everything appeals to everyone. Learn to accept this and then you can enjoy your writing achievements.  I don’t feel sick anymore. My work is finally on the shelves. I have worked hard to get here. The next step is to get one of my novels published. I can now categorically state that I'm ready. This time I come prepared...... 

THE END OF THE TRIALS OR JUST THE BEGINNING......

When I began to write about the trials in 2013, you could have been forgiven for thinking it was an excuse for me to have a rant. However, I put a lot of thought into those early blogs and I’ll have you know it wasn’t a simple task. In fact, it’s nigh on impossible regularly producing articles on the ‘joys’ of being an unpublished writer. It proved far easier to prattle on about being depressed and unrewarded in the hope that this might strike a chord. To distract a little from the woe, I wrote a few informative blogs. I might have even managed to add the odd positive remark, although most of the time it seemed like someone had been meticulously putting obstacles in my way.  Without connections, money and a thick skin it's certainly not an easy journey.    

An unpublished author’s life is far from exciting. The blogs were in danger of becoming repetitive and dull. What I perceived to be a good day was nothing to write home about. Of course, there were wonderful days when no one asked if my work had been published yet, but you can only talk about that once or twice. No one’s going to enjoy reading about the time you wrote 50,000 words, cleaned the house and still managed to feed the kids. You might feel very proud of yourself, but it’s not an achievement which justifies a mention in too many blogs.  It’s a dreary existence. Unpublished authors can’t blog about glamorous award ceremonies, because they don’t get nominated for anything.  And you’ll be lucky to get invited to publishing parties before you’ve made a name for yourself.  No one wants a bitter, baggy-eyed, grumpy unpublished writer for a friend.  You might not realise it but you’ve got negativity written all over your miserable face. If you lacked confidence when you set out to get published (and most of us do) then your self-esteem will be non-existent within months of submitting your work. You soon forget how to smile, like someone who’s overdone the botox, except you’ve got deep-set wrinkles and a permanent frown.

The trials not only strip you of a smooth complexion, but they take away your self-respect. By the end of it all, you’ll hate everything you’ve ever written. You’ll stop questioning whether it’s worth pursuing the dream and accept defeat.  

During the trials you’ll have politely thanked millions of people for kicking you when you’re already down.  Don’t be ashamed if you’ve suffered a relapse and gone back to those critics begging for more. We’re all guilty of grovelling.  Every long-term un-published author will have succumbed to arse licking in various degrees. It’s called desperation. The memories will make you cringe so adopt a coping mechanism - pretend it was some other loser who pitched that romantic novel to a crime editor and move on*.

Unnecessarily painful feedback might make you want to cry. Learn to pick yourself up every time a door is slammed in your face. You’ll be rejected on a daily basis. Sometimes it might occur in the nicest possible manner. Never get complacent. In their opinion, your work is a piece of shit whatever way they choose to inform you of that fact. You’ll soon get to the point when you couldn’t agree more.  I’ve often wondered what possessed me to submit such excrement, but if you wade through enough sewage, you’re bound to discover one golden nugget in a turd.  

Anyhow, I am digressing somewhat and must return to the theme. Like all farewells, I need to steer the subject back on course and break the news. I was on the verge of abandoning the trials and packing it in when a miracle occurred. After seven years of submitting work and three years of blogging I can finally confirm that I have received an author/publisher contract. Is this the end of the trials or just the beginning? Maybe it is the beginning of the end?  My advice is to keep reading the blogs - wait and see :-)

                                                             *NB: A fabricated example was used to protect the bloggers pride.

Literary Squatters

The literary world should not be encouraging Squatters to move in before a novel has reached the final draft. Inevitably, the quality of the product will suffer as a result.  Squatters don’t care about the property as much as the owner.  They have no reason to waste time tidying up. Why bother making it spick and span? On the other hand, the owner has dedicated several years of their life to that project. It means a heck of a lot to them to maintain standards and keep the place looking good....

I’ve recently watched two articulate women talking about their novels: one was passionately keen to discuss the writing process while the other didn’t seem to give two hoots.  The latter obviously hadn’t put as much work into her book. It struck me that it might not have even been her idea.  How did I make this judgement?  Well, if her apathy was a sign of her disappointment then she’d appear to be ashamed, apologise and promise to do better next time. However, considering this novel was a runaway success you’d expect her to be proud: enthusiastically talking about the ups and downs, the late nights working through dilemmas, the puzzles she’s had to resolve, the darlings she had to kill. There’s no way she’s spent years agonising over characterisation, concepts and wording.  During the course of the interview, I gathered that she hadn’t done much in the way of research either.

In order to get a sense of what my characters are going through, I’ve become a competent method actress. I’ve been known to bury my head in a threadbare carpet, before slapping myself across the face and crying REAL tears. I not only step into my fictional worlds: I hop, skip, jump, crawl - live and die there.  I can categorically state that I’ll never have a free-falling, tight rope walking, motorcycle stuntman in any of my novels.  But if I did, I’d read a few accounts of what it’s like to perform these stunts and I’d talk to Adrenalin Junkies to put myself into their shoes.

Before The Latter had finished her interview, she was asked about the film based on her novel. A movie! How fantastic! I would be honoured, thrilled, excited. I’d want to make sure the actors are going to put as much effort into portraying my characters as I put into creating them.  However, she didn’t seem to give two hoots. I became convinced that she was exhibiting 'Literary Squatter' traits. She must have taken over someone else's novel. What a cheek! A violation!

I stopped and thought about my accusation. Maybe, nothing excites this woman, but surely, after all that success you'd think she'd be a teeny bit happy? 

It can take years to get your work published. Many of us might not even come close to reaching that goal. The perfect first-draft will almost certainly never be recognised as a work of genius. Not many people in the publishing world will see that novel’s true potential. Only the Writer knows when they’re onto a winner.  By the third draft they’ll have produced well rounded characters and relevant dialogue. At this point, anyone could take that book and turn it into a product worthy of publication. Except, it belongs to the owner - it’s their manuscript. They’ve spent all those years developing the groundwork, putting up the scaffolding, cementing every brick. This has taken them many years to complete. They’ll know their characters more than any non-fictional human being. They’ll have struggled with point of view and tense. They’ll have played around with structure and in many cases they might have infuriatingly ended up right back at square one.  It’s all worth it, because they get to put on the roof and make their property water tight. It’s their job to make the final finishing touches to the interior and landscape the front and the back.  Don’t allow anyone else to take that satisfaction away. Believe me, there are people out there who will kick you out of the way for their own gains. After all the hard work is done, these squatters will saunter down your garden path and put their key in your front door.

You’ve brought several hundred blank pieces of paper to life, not them! You’ve created those places, concepts, characters and plot. It is your job to turn this project into a commercial product. This novel belongs to you. Enjoy those final tweaks - slip in a few more red herrings and finely tune the denouement. You revise the prologue and write the perfect hook. Introduce us to a few more characters and reveal their secrets.  You dug those foundations with your bare hands. You’ve written so many drafts. You know how your characters tick. It’ll be easy for Squatters to get mixed up, confuse concepts, lose their way around a location, forget what day it is - was the sun shining or not? Don't allow them to make a fool out of themselves....

My first novel was prematurely submitted to publishers (for whatever reason), but I’ve just completed the final stage and I’m overjoyed. It’s so rewarding. I can’t wait to get to this part of the novel writing process again. That's why I’m starting another book. By the end of today, I’ll be on a roll. I’m very speedy. I won’t be handing the baton over to anyone else. It'll take many more drafts before I get to that 'fun' bit again, but I’ve got the stamina, the determination to drive this idea forward. I don’t need any interference along the way.  I have my eyes on that final line. I’m looking forward to the sprint finish – that glorious moment is ALL mine!   I have copyright. It is my intellectual property.  Squatters keep out or else we might have to seek an eviction order.....

 

Criminal Profiling: Fictional and Non-Original Fiction..........

There are quite a few people I’ve had the displeasure of meeting in my life: people who lack empathy and integrity – nasty, selfish beings who, quite frankly, deserve to be dead.

Someone else might have killed these creatures a long time ago, but not me. Luckily for them, something stops me from doing this deadly deed. I’ll curse and I’ll plot revenge, but I stop at murder. Why? It’s because I’m made of something different. I’m not predisposed to extreme violence. I don’t have murder’s genetics. I didn’t have a disruptive childhood that ignited some deadly genetic make-up. I’ve never received a head injury that caused specific brain damage, which in theory might have led to a change in personality. I don’t have low levels of serotonin or high levels of testosterone.

Those of you who have done the dirty on me should be grateful that I don’t possess murderer’s attributes. However, be warned! I am a cool, calm, calculated crime writer who takes her time plotting comeuppance.

I’m fascinated by forensics and profiling. I enjoy building suspense and creating atmosphere. Without drive, passion and ‘weird twats’ in my life, I wouldn’t feel quite so compelled to write – especially in first person! Without you, I’d have given up writing a long time ago and I’d have run out of ideas. I do feel sorry for those sad cases who steal work from aspiring authors. You are not ‘real’ writers, but great big imposters?  It’s about time you considered another day job.....

LET’S TALK ABOUT SLUSH-PILES: Waste Incineration or Manuscript Recycling?

Who oversees the slush-piles? What regulations are in place? I’ve always been paranoid about unpublished material getting into the wrong hands - hence, the reason why I’ve only sent out a handful of submissions. But surely no one would borrow, tweak and/or deliberately steal someone else’s material? That would be stupid and quite literally CRIMINAL. After all they could be sent to gaol for this crime.

At some point during the trials, an unpublished writer is bound to start believing that something’s a foot, irregularities are going on and everyone’s out to get them. If a person’s work keeps getting rejected, it’s only natural for them to feel this way, but are they really imagining this? They might not be paranoid, but intuitive. I would advise all unpublished writers to keep your wits about you. There could be more than one bad apple out there.

However, you must become self critical. Re-read a rejected submission as if you were an agent/editor: learn to spot flaws, delete anything that interferes with the pace, ask questions such as, "How would I market this proposal?" Make the required alterations and send it onto the next agent on the list. Keep improving your submission until agents are fighting over your novel! Don't send mass submissions at any one time. Avoid slush-piles like the plague! 

If an agent expects aspiring writers to abide agency rules, then agents need to respect every submission they receive. All writers have to put a certain amount of effort into every submission. If they’ve not exactly come up with the goods, it is not for any one else’s entertainment. It is unprofessional to refer to/or discuss rejections even if the author’s identity remains anonymous, and highly unethical if it isn’t. The author owns that material. All work has copyright from the minute it is time-stamped. The writer must give their permission to anyone who wishes to distribute or publish any aspect of that work. If the writer dies, the unpublished work dies with them. All agencies must incinerate rejections. This work is not for recycling.

 

 

 

THE WRITER’S APPRENTICESHIP: STAGE ONE OF THE TRIALS – A SLOW DESCENT INTO HELL.....

Have you taken your hobby onto the next level? Are you embarking on a career in writing? If you want to become a professional author, decide whether your novel is going to be literary or commercial. Aim to write 60,000 consecutive words over a short period of time. Increase the word count and call it ‘First Draft.’ Then sit back, reflect on your wonderful life, bid friends goodbye, hand over your kids to a sane relative and begin divorce proceedings....

It’s one hell of an apprenticeship, a life changing experience, which should come with a health warning. You might opt for the lucky fast-track option and get an agent straight away, but you’ll probably end up on the most expensive course: the one that comes with additional training and usually lasts a lifetime. Only the most dedicated will survive. All students are expected to study seven days a week/24 hours a day. There will be nothing else on your mind.

In preparation for your slow descent into hell I must advise you to move into a clutter-free house, preferably one with padded walls. Crash-mat floors will provide protection for when you choose to hurl yourself around in utter despair. Send your submissions via email. Use texts to communicate with everyone else. While seeking representation, avoid contact with human beings - they’ll only keep asking if your work is published. When you tell them that you’re still working on that task, they’ll give you a look as if to say, ‘What have you been doing with your time?’ Therefore, I suggest you adopt a cat to keep you company. Make sure it’s trained and used to temperamental owners. Don’t get a dog - you won’t have time to take it on walks. It’ll only join the ever growing list of other ‘beings’ who resent you.

You’ll soon realise that you might never get an agent. This will occur long before you’ve reached the list of agents on page two of the Writers' & Artists' Yearbook. Don’t have a strop. Eat cake. Drink wine. Put your dimply hands on your ample hips and shout at the top of your voice to every agent worldwide, ‘I’m coming to get you!’ Did I mention your minimalist home must also have triple glazing to dampen emotional outbursts?

It could take anything from twelve months to thirty years to finish a writer’s apprenticeship. You won’t live any longer than this. Life expectancy decreases the minute you receive your first rejection.

By now you’ll be penniless and overcome with self-doubt. You’ll try to work out why no one wants you on their list. Do they dislike one aspect of your submission or hate it all? You’ll not consider the possibility that it just isn’t their cup of tea or that your idea is too difficult to brand. At this stage of apprenticeship, you are your biggest critic. Be careful not to go into an editorial frenzy. Please don’t cut ‘First Draft’ in half. You’re not yourself anymore. In this state you’re likely to shred all the best bits and completely lose the plot. Seek help!

Join a Writer’s Group to get constructive criticism. Agents are very good at wining, dining, flirting and smiling, but only if they’re getting a percentage of your earnings. They don’t have the time to write wonderful letters of encouragement, even if they’ve been inspired by your submission. Your work might be brilliant, you could have real potential, but if it ends up on the slush pile you won’t get any praise. Every ‘reject’ receives the same standard NO. Agents don’t molly-coddle ‘unknowns’. Their role is to find something that stands out within a particular genre. They have a fiduciary duty to represent the authors on their lists (anyone with a client agreement). Once an author obtains this legal contract they should feel secure, because any misrepresentation can be fought in court.  However, if you wish to avoid a battle, remain vigilant; expect to come across a few demons - it is HELL after all.

FIFTY SHADES OF HYPE....

Am I the only person who hasn’t read the book, seen the film or pre-ordered the DVD? I’ve read enough extracts and reviews to know that this book isn’t for me. I can’t take it seriously. Is it a joke? Am I right in thinking the author described male genitalia as ‘his essentials’– something I associate with my weekly shop? That term gets me wondering if my other half’s got enough bread for his packed lunch. I consider water to be a necessity like milk, eggs, butter - wine. I don’t expect to find Christian Grey’s meat-and-two-veg in the refrigeration cabinet when I’ve nipped into Asda for a litre of semi-skimmed. Perhaps they’d sit comfortably on every Good-For-You aisle, but in my opinion, the author should have written the word ‘penis’ to avoid confusion.

Maybe, I should jump on the band wagon, get hold of some mummy porn and see if I can write it any better? I do wonder why I’ve spent so much time editing and revising crime plots when I could write about groceries in a very telling, rather than showing way. As long as there’s enough hype surrounding a book, you could write about anything from frozen peas to chips - describe the cut as wrinkle instead of crinkle, if that’s what takes your fancy, but make sure there’s plenty of sauce.

I can categorically state that originality is a luxury, and most unpublished authors can’t afford to indulge. If we want our novels to get on the shelves we must work within the confines of genre and marketing. This is why I spent the majority of 2014 analysing the best way to adapt my first novel for crime. I needed to discover whether my ideas were commercial, so I scrutinised the competition. I didn’t find my work in hundreds of other books - not even two! It just wasn’t in-vogue. The first-person narrative was perhaps, a little too experimental. The protagonist had to become perpetrator or victim if it was ever going to slot into crime. I needed time to think. I’d already written a conventional police procedural, but I didn’t want this to become my breakthrough novel. I began work on a domestic noir, but I couldn’t shelve my first book. I felt compelled to get the story out. So I played around with the protagonist’s voice, taking the character from the novel and into scripts.   

I’ve waited this long to become a published author, so I can wait a bit longer. I’ve been very patient, getting the stories right. Maybe, before the end of the year, I might be in a position to submit novels again. I’m looking forward to working with people I can trust, in an environment that thrives on fresh perspectives, but for the time being, I’m enjoying ‘freedom’ far too much. I want to indulge in a little uncensored creativity. I’m turned on by innovation not ‘Fifty Shades of Grey’. 

The Long Goodbye.....

Prior to submitting your work you might want to consider the phenomenon that is ‘The Long Goodbye’.....

This devastating rejection can cause severe heartache, especially if other opportunities were lost during that long wait. In order to avoid the agony of rejection, in whatever form, I asked successful authors how they approached their agents. I soon gathered that most had mapped out their careers before they began work on their first novel. Not one of these subjects rushed into the submission process. Instead, they spent many years studying their craft, entering competitions and collecting prizes. Even after they had completed their first draft, these cunning little foxes didn’t trust an agent to be in receipt of their work without getting independent editorial advice. While waiting for feedback, they did a spot of research - staring at profile pictures until they knew every agent by sight. They learned to sniff out influential people at parties and conferences, homing in on their favourites, targeting two or three at a time. Eventually, after years of apprenticeship, they sent off a round of submissions to a selected few. Excitement ensued. Contracts were signed. Publication agreements followed......

A trusting and somewhat impatient person might be tempted to submit three chapters of an incomplete novel. It is perhaps naive, but not stupid for an unpublished writer to trust an interested agent from a reputable agency. No one expects to be published overnight, but what’s the harm in hankering after a little advice? If an agent voluntarily reads your work, invites you to their office and/or provides feedback free of charge you could be excused for thinking that they are committed to developing your career. You might surmise that they are generous souls who work in an agency that is perhaps a tad too overstaffed? However, remain vigilant.

Be curious if an agent asks you to make changes without a client agreement. Literary agents don’t usually have the time to nurture. It’s not the job of publishers either. Publishers rely on established agents to send them work of a certain standard. So you may be asked to make a few alterations in preparation for publisher submissions, but surely not before you have signed a contract? Take another look at their clients. Assess whether your work sits comfortably on that list. Perhaps it’s time to move on before that long goodbye?

Remember, if your work isn’t ready for submission the vast majority of agents will thank you for your interest and bid you a short goodbye. Be aware that there are some unscrupulous agents who might string an aspiring author along: either to prevent their premise going to any other agency or to provide one of their existing clients with that idea? For this reason, I warn everyone to beware of the long goodbye......  

Don't make the same mistake twice.....

In all probability the simplest error in your otherwise brilliant submission/competition entry will be drastic.  The chance of a mistake contributing to your success isn’t very likely. However, I’ll bet it’ll happen one day. After weighing up the odds, I’d take a risk and have a flutter. A little whoops-a-daisy could be the gateway to success. It might even make you rich. Intrigued? Then read on....

Most writers are blinded by the sheer genius of their work to notice a teeny-weeny error. Their minds are full of complex plots, stimulating dialogue, murder and espionage. A dedicated author can deliberate for days over a single connective. They spend hours navigating peaks and troughs. A writer can become so close to their creations that they’ll start talking about every fictional character as if they actually exist. In this state of instability we can’t expect them to notice a ‘T-shit’ instead of ‘shirt’. It’s easy to miss the ‘twat’ that should have been ‘tat’ or that slippery ‘crap’ which was meant to be ‘carp’. Come on – give them a break. The vast majority of writers need a decent proof-reader.

Not all unpublished authors have the money to pay for editorial services. Ask a favour from your writing group peers or a smart friend, but choose someone you trust. You don’t want them blurting out every embarrassing mistake you’ve ever made.

Mind you, I’m not afraid to admit my mistakes. I’ll be forever indebted to the man who kindly informed me that my main character had been hovering when I’d created a scene in which she should have been hoovering. It caused great hilarity when he read that my levitating protagonist had become irritated by a flyaway fridge which she had somehow managed to flick from her face.

Some of my cringing mistakes have come alarmingly close to publication, but by sheer coincidence, fate stepped in and saved the day. I might have failed to notice past mistakes, but I’ll never make them again. I’ve come full circle in my writing career - right back to square one, but I’ve learned many lessons.  

The main lesson is not to rush into finding an agent. I used to naively think that it was essential to secure representation, even if you had not perfected your first draft. On the contrary, you must concentrate on creativity in those early days. You don’t want the menace of conflicting advice at this stage. Choose a genre that suits you and become an expert in that area. Retain your positive attributes and work on the negatives. Attend courses and festivals. Brush shoulders with people in the know. Exchange tweets and share Facebook posts. Create a substantial portfolio before you begin the submission process. Once you decide to step into this minefield: get introduced to agents, attend pitch sessions and read agent profiles to make sure they are right for you. Most importantly, choose someone you can trust by seeking recommendations from peers.

In the New Year, I’ll send my revised novel off to the third agent on my list. I might even chase up number two. There’s no rush. So what’s the betting that I’ll get my work published in 2015? I don’t need a pie chart to demonstrate that the odds are stacked up against me. However, I’m not obsessing over that probability.  

Imagine one giant dessert with plenty of fruit and dollops of cream - make it clotted – the richer the better. Add several triangular sandwiches without crusts: cream cheese, cucumber and mint. We’re enjoying afternoon tea at Betty’s, as opposed to making do with what’s left over in the fridge. I’m taking my time. I don’t want to get too full, too quick and end up with an agonising stitch. I’m going to enjoy this moment for as long as it takes to recharge the batteries. You could say I’m bulking up, in preparation for another fight. The trials will continue, but I’m all set to take a different path. Mistakes can make you very rich indeed.

 

#amblogging and #writing, because #Ineedtosellmybook, which is #thebestthingsinceslicedbread....

An unpublished author should include hash-tags in every tweet if they want to get noticed. No matter what your day job is, you must set aside time to ‘strut your stuff’ on social media. It is a good idea to knock a few years off your age and post a photo-shopped image that was taken decades ago. Practice facial expressions in front of a mirror. Go for a moody, intellectual pose for your profile picture: choose your best side, look up and appear thoughtful.

 

To attract new followers you might want to fabricate a connection to the Royal Family or add an impressive title to your name. For wider exposure you could degrade yourself by going on a reality programme. Perhaps this is not the recommended route for those of you who are aiming for the Booker prize? But be warned, if that is the case, be prepared for an even harder slog to the top and expect to be poorer as a result.

All unpublished writers should tweet several hundred times a day and still find time to write the next best-seller *raises eye brows* *positions tongue in cheek*. 

You must be professional: set goals, meet competition deadlines and submit perfectly edited work. Ideally, you could go without meals to pay for editorial services, which shows commitment and might work in your favour. Make sure you post a few newsfeeds on Facebook so everyone is aware of the sacrifices you’re making. Don’t forget to tag ‘friends’ from the publishing industry. Sod everyone else.  

A wise unpublished author of any genre must be organised. Go to your nearest Ikea store and buy everything listed on pages 228 to 245 in the catalogue. Invest in filing systems for workshop notes. A couple of Pappis boxes for contacts and business cards wouldn’t go amiss, the odd Tjena, Maffin basket and Samla with lid. Buy expandable cases for the many rejection letters that will be coming your way. Frame all achievements (no matter how small) because every little bit of recognition can lift your flagging confidence. Restoring belief in oneself is vital during the long road to publication.

Back up all your work on memory sticks, which can be hidden securely in locked safes. Keep hard copies and electronically date stamp emails to prove copyright. You’ve not spent all these years working hard and getting nowhere to let some thieving #### steal what’s rightfully yours *winks* *looking at no one in particular* *winks again*.

At this stage, you might experience battle fatigue. You’ll be bitter and deflated. So use all that pent up anger and frustration to your advantage. Release tension by protesting about a good cause, something like keeping your local library open. Support this worthwhile service by visiting it daily. Make sure you post photographs to earn brownie points.

Give up on sleep, if need be. Use every minute of those 24 hours to raise your profile. Word of advice #caffeine.

Before you keel over from total exhaustion, make sure you become an expert in your chosen field by reading at least one novel a night. Do whatever it takes to acquire an array of books. After years of receiving no money for all your efforts, you might have to downsize and live in a caravan or bedsit where there’s no room for shelves. Never fear. There are other ways to store your ever-increasing collection of other people's books. Stack them high, preferably in alphabetical order, which shows you care. Name the post, “My leaning tower of literature” and dust regularly.  

 

Remember peers: remain Resilient, Organised, Positive and Extrovert #ROPE

 

                            Advice courtesy of unpublishedauthor@battleweary.com.co.net

 

 

 

 

 

 

 

A change is as good as a rest.....

I’d like to announce my retirement. I am no longer a full-time, unpaid novelist obsessively seeking representation. The time has come for me to take a break from the submission's business. I can not continue submitting novels without A) Going insane. B) Having a heart attack C) Jumping off a bridge or D) Killing someone else. The pace at which I’ve been applying for representation is damaging my health. I’ve officially burnt out.

Within weeks of turning over this new leaf, I find that my poxy skin has become clear and the wine intake decreased. My hair isn’t limp and lifeless, but vibrant and shiny. I can now swish it about like those self-assured models in the hair adverts. Most importantly, I’ve stopped yelling at everyone. My kids can leave gym kits on buses, lose mobile phones, snap travel passes in half and dirty their clean clothes, because...do you know what.... it’ll all come out in the wash. I don’t cry uncontrollably in inappropriate places for hours on end. I’m smiling without an inner frown. I suppose you could describe it as being normal.

 

It seems like a heavy weight has been lifted from my shoulders. At last, I’m allowing myself time to appreciate the simple things in life. I can go out with my family, greet strangers, observe interactions, exchange expressions and take note of my surroundings. I’m not looking at the floor minding cracks in pavements, dwelling on injustice and rejection. In a nutshell, I have become a writer again...to hell with the submission process....for the time-being.

It makes me ill just thinking about how it takes six months to write a 100,000 word draft and another ten years to get representation. I became a submission machine that had lost the ability to be creative. Therefore, the novels have been put to one side. I’m concentrating my efforts on writing scripts, short monologues and anthologies. I need to increase my portfolio. I need to take my time and produce quality work.

 

I’ve been revising the same novel for too long. I’m in danger of looking back and seeing nothing for all that effort.  I feel I’ve wasted years adapting my novels to suit different requirements, second guessing what the business wants, pleasing individual tastes and taking on board a mish-mash of requests. I've lost count of the hours spent writing what seems like several hundred different versions of one synopsis. If I’m not careful, I’ll loose my mind, dumb down the novels and forget what made me write in the first place. Of course, I will continue to submit when, and if, a suitable agent comes my way, but I can’t purely focus on submitting instead of creating. There has to be balance in an unpublished writer’s life - an equilibrium where you come out on the other side with your sanity still intact. 

 

#mywritingprocess - part of the writing blog tour

 

This is my writing process, part of #mywritingprocess blog tour

I was nominated by Jude Brown: a friend and fellow writer, who never fails to make me laugh, with or without the aid of Guinness. In fact, she’s been known to make me cry with laughter after drinking only highly diluted Orangina – that’s the power of this woman! 

Jude is a writer of contemporary fiction, whose short stories have been widely published. She is also the recipient of many awards: semi finalist for the Raymond Carver Short Story Prize 2012, short-listed for the Bridport Short Story Prize 2013 and short-listed for the Fish Short Story Prize 2013. After completing her MA writing at Sheffield Hallam University, Jude became a winner of the Northern Writer’s Award 2013 for her novel, ‘The Dangerous Sun’. With this impressive list of accomplishments, I expect agents will soon be fighting to represent this talented author. I look forward to seeing, ‘The Dangerous Sun’ on the shelves very soon.

Find out more about Jude on her website: http://www.judebrown.co.uk  

To read Jude’s blogs and find a delicious recipe for banana curry visit: http://bananacurry.com

           So here goes! These are my answers to the #mywritingprocess questions:

1.      What am I working on?

I am touting around ‘Into the Snicket,’ my first crime/thriller novel, which is about domestic abuse and murder. An early version of this was submitted to editors via my last agent. At the time, I was flattered to obtain representation so early in my writing career, although I was naively unaware of the importance of marketing and genre. In my desire to please, the novel became a mixed bag of crime, literary and whatever anyone else suggested. Editors praised it for being atmospheric, utterly compelling and powerful. However, the consensus was that the pace was too slow for crime. I began to work on the overhaul, which took six months of re-writing and tinkering until I’d found a marketable style. It’s taken me a while to understand this business and for my confidence to grow, but I feel the novel is now ready for crime representation. In the past, I thought, I’d wasted opportunities. I look back now and realise that all those other versions of ‘Into the Snicket’ were necessary drafts: a lesson in writing, the hard way.

       2. How does my work differ?

I’m interested in dissecting the psychology of protagonists and antagonists. Once I’ve got into their minds, I can hear their voices and for this reason I prefer to write first person. This enables me to describe their tension and create atmospheric situations, which is what I enjoy. My novels unravel crimes via witness, victim and/or murderer’s viewpoints rather than through the official investigation. However, this doesn’t mean that I don’t love reading great police procedural novels, such as Denise Mina’s, The End of the Wasp Season AND who doesn’t have a soft spot for Mark Billingham’s, Tom Thorne?

My writing combines subjects I studied for my degree: feminism, criminology, politics, sociology and psychology. Into the Snicket has proved to be a difficult nut to crack: a crime novel, written in first person, where the protagonist isn’t cop, forensic investigator, witness, victim or murderer. I suppose this wasn’t an easy way to begin my writing career and I deserved all the obstacles that have come my way!

     3. Why do I write the way I do?

I’m drawn to the crime genre, because I am incensed by a great deal of things which go on in this world and, on a more personal level, I’ve been subjected to injustice on far too many occasions. I am an amicable and caring person (honestly), so for someone as nice as me, crime writing is a great way to vent fury! Be aware that if you upset me, you’ll become my next fictional criminal – the one who’s going to be hung, drawn and quartered.  

I was a sensitive child who liked to please everyone, but I suffered speech impediments and was incredibly shy as a result. Writing became a way to express myself without embarrassment or fear of ridicule. In recent years, fictional revenge has given me a great boost in confidence. I've finally found my vocation. Now, I'm never lost for words.

I admire Donna Tartt’s work and emulate Andrea Badenoch, whose novels I’ve recently discovered - I would say these are the closest to mine. In ‘Rush of Blood,’ Mark Billingham interwove the murderer’s pov in between the six suspects, which is a similar format to the ones I use. I’m inspired by Dickens, Du Maurier and the Bronte’s who wrote atmospheric novels with memorable characters. For this reason, I enjoyed, 'Woman in Black' by Susan Hill. I found the adaptation to stage and screen worked well. My third novel was originally written as a play and Into the Snicket’s unreliable narrator has the perfect voice for radio. I find scripts easier to write than short stories, which always become long stories - the reason why I have written more novels than anything else.

      4. How does your writing process work?

It would be nice to start the day with a visit to the gym, followed by a facial and manicure. Sadly, I have no time for pre-writing pampering sessions. And anyway, there isn’t any point - by 8.30, I’ve bitten all my nails and pulled out my hair, because I own an antiquated laptop that’s slow to start up in a morning. Obviously, I do empathise with this elderly machine, as it takes me a while to become fully operational too. I require a pot of tea and several mugs of coffee before I begin. I do wash and get dressed on writing days, but only because I have to take the kids to school.

On my return, I’ll have another coffee, taking the opportunity to check Twitter, Facebook and Emails. I’ll feed the cat and do some ‘bare minimal’ housework. Then me, and the laptop are fired up and raring to go. Once I start, I have no motivational problems, because I only have a few hours before the whirlwinds get in from school. If I’m on a roll, I will go back and finish it off, working well into the night.

Now that I’m looking for crime representation, I focus on one of three things: the next novel, competition entries or agent submissions. If I’m tired I’ll edit. If I’m feeling creative, I’ll create.

When I take time out to visit museums, galleries, libraries, or go for a stroll, I’ll observe people, locations or read, but I can’t write in public spaces. I’ve become highly protective of my unpublished work and for very good reason. There’s always a chance that someone’s going to look over my shoulder and pinch my ideas. Still, I can always get my own back and turn them into a fictional corpse....

Thank you for reading my writing process.  For next week’s blog tour, I would like to introduce Michael Moon and Matt Wingett

I first met Michael on an Arvon novel writing course in 2008. He had already published ‘My Camino,’ so he was a great inspiration during our week in Lumb Bank. This beautiful book is an account of Michael’s 500 mile pilgrimage to Camino de Santiago, which he completed in 30 days at the age of 67. A few centuries earlier, his ancestor William de Mohun had undertook the same pilgrimage, in the year 1280!

After serving in the military as a 2^nd Lieutenant in the Royal West African Frontier Force, Michael took on a variety of temporary jobs which, he affirms rounded out his education. His first fictional novel is described as a captivating ghost story, based on real and extraordinary experiences of the writer. ‘Moonshadow’ uncovers a medieval secret that has lain dormant for seven hundred years.

Michael informs me that he is writing more ‘Moon’ novels, with two in progress. If that isn’t enough to be getting on with, Michael is looking for an illustrator as he plans to publish several children’s stories. Anyone interested? Visit: http://michaelmoonauthor.com

Matt Wingett was recommended for this blog tour by fellow writer, Lynne E Blackwood.

Matt writes stories and blog entries about Portsmouth. He describes his home town as, ‘village-like and extraordinary’. “Every step along it’s cramped roads has a story attached, or a bizarre piece of history.”

Matt used to write episodes for the television series, The Bill and has crafted a stage production, Sing Sing Sing, at The New Theatre Royal, Portsmouth. He is the author of several books including, ‘We’ll Meet Again’, where a real 1940’s singing trio called The Three Belles, uncover an old wrong that they must put right. This novella is described as a ghost story with a difference - that will keep you guessing until the end.

To discover more about Matt visit: www.lifeisamazing.co.uk/about-me/

NOW OVER TO MY TWO VERY INTERESTING NOMINEES, WHO WILL POST THEIR WRITING PROCESS AND TWO NOMINATIONS NEXT WEEK.....