Win £750 in our world-famous story, poetry and flash comps

HOW TO WRITE WHAT TO WRITE WHERE TO SELL IT

START PASSPORT
WRITING to PARADISE
and make a living Take the next step
from your words in travel writing

ALL THE If you want to

WORLD’S know the crime…
A STAGE Research tips from
DCI Banks author
Find inspiration in our Peter Robinson
new playwriting column

SKILL How to film a book trailer in a day

Every month workshops, exercises and market news

9 771467 252042
#204 Oct 2018 • £3.95

to help you write fiction, non-fiction, plays and poetry

Stop overwriting Trade marque Theme tuned
The Mentor helps a Should you consider Tweaking a story
page-bound perfectionist branding yourself as to make sure it has
04

to loosen up and move on an author already? a satisfying message

0208 339 6060
 WELCOME

Writers FORUM
A WORD FROM 4 HEADLINES 31 INSPIRATION
Newsfront The latest in the Ideas Store Paula Williams
THE EDITOR world of writing meets two travel bloggers
6 AUTHOR INTERVIEW 32 THEATRE

W
Find like-minded NEW!
e haven’t covered people to help Monologues and
playwriting much Debut author Jane sketches Pippa
over the years but this issue Lacey-Crane shares lessons Roberts introduces a regular
we present a new column from her road to publication round-up of theatre news and
with Kate Chapman opportunities
from Pippa Roberts that
8 WRITERS’ CIRCLE 34 ACHIEVEMENT CALENDAR
should fit the bill. She opens Your letters plus First Draft October Stay on track
with monologues and short 10 FIRST STEPS 37 STORY COMPETITION
sketches, which have the Living wage Douglas This month’s winners
dual benefit of being simpler McPherson shows how of £550 in cash prizes
you can make writing your 46 FICTION WORKSHOP
to write and more in demand
full-time job A ghost of a theme Using
from theatre companies. 13 TALES OF MY GURU a reader’s story, fiction editor
To help you practise, the flash comp this month calls for a Hugh Scott’s mystery mentor Lorraine Mace shows how
short monologue in the form of a telephone call. As Douglas is on a flow clever use of a theme can
McPherson points out in his Get Started column (page 10), 14 MARKETING strengthen your stories
It’s a wrap! 48 TRAVEL WRITING
writers have to widen their target markets to make a living,
Barbara Henderson’s Business matters Solange
and writing for the stage adds another string to your bow. seven-step plan for Hando concludes her series
Thank you to all those who entered our first themed poetry making a promotional video with a guide to fees, freebies
contest this month. The results will be published next month, 17 AGONY AUNT and professional practice
and in the meantime you can find the details of the new Dear Della Writer Della 50 POETRY COMPETITION
Galton answers your queries NEW! Poetry editor Sue
competition, on the theme of weather, on page 50.
18 CHILDREN’S BOOKS Butler introduces this month’s
Write soon, Carl Developing ideas themed comp
Anita Loughrey finds 52 POETRY COMP RESULTS
out about the This month’s winner of £100
Don’t miss issue #205 on sale from 18 October creative services on offer and a dictionary plus
from consultant Karen Ball of Experiment
Writers’ Forum AD SALES MANAGER Wendy Kearns Speckled Pen 54 WRITERS’ DIRECTORY
Select Publisher Services Ltd EMAIL advertising@writers-forum.com 20 FREELANCE MARKETS This month’s events, writing
PO Box 6337 TEL 01392 466099
The Magazine Scene courses and helpful books
Bournemouth BH1 9EH CIRCULATION MANAGER Tim Harris
TEL 01202 586848 Adam Carpenter’s round-up 58 MOTIVATION
PRODUCTION MANAGER John Beare
IT MANAGER Vince Jones
of industry news plus Diary The Mentor Emily
PUBLISHER Tim Harris of a freelance hack Cunningham helps a reader
EDITOR Carl Styants Subscription rates (12 issues)
UK £38, EUROPE £49, ROW £56 22 FICTION MARKETS unleash her creativity
CHIEF SUB Wendy Reed
SUBSCRIPTION MANAGER Chris Wigg Inside Story Could 60 WRITING KNOW-HOW
Photography and artwork EMAIL chris@selectps.com Douglas McPherson find a Research Secrets
With thanks to Shutterstock PRINTED BY market for his niche short? Crime writer Peter
COVER IMAGE Tithi Luadthong Precision Colour Printing, Halesfield 1, He explains how careful Robinson tells Anita
Stirchley, Telford TF7 4QQ
© Select Publisher Services Ltd. No part of targeting met with success Loughrey how he researches
this magazine may be reproduced without the
DISTRIBUTED BY
Seymour Ltd, 2 East Poultry Avenue,
24 WRITING EXERCISE his Yorkshire-set Inspector
written permission of the publisher.
London EC1A 9PT Setting in the short Banks books plus Writing
Writers’ Forum cannot accept responsibility for
DATA PROTECTION For information about
story Barbara Dynes shows Outlets with Janet Cameron
any unsolicited material. Writers’ Forum is fully
independent and its views are not necessarily those how we manage personal data, please see the importance of place – and 62 COMPETITION CALENDAR
of any company mentioned herein. All copyrights https://www.selectmagazines.co.uk/privacy-policy sets an exercise Morgen Bailey speaks to
and trademarks are recognised. Every effort has Registered in England. Registered Number 27 THE BUSINESS magazine publisher, writer and
been made to identify the copyright holders of 5450559. Registered Office: Princecroft Willis Becoming a writer Build judge Jo Derrick
images. Writers’ Forum cannot accept responsibility
for inaccuracies or complaints arising from
LLP, Towngate House, 2-8 Parkstone Road, Poole
BH15 2PW. A catalogue record for this magazine
your brand from day one, 65 SUBSCRIPTIONS
advertisements featured. is available British Library. ISSN 1467-2529 suggests Kath Kilburn Get Writers’ Forum delivered
28 FLASH COMP direct to your door
For submissions, visit www.writers-forum.com/contact.html Our writing contest is FREE 66 WHERE I WRITE
We reserve the right to edit any article or letter received. to subscribers plus the £100 Phil Barrington tracks down
Please note that Writers’ Forum does not carry book reviews. winner of our ‘Chicken’ comp crime writer Leigh Russell

Writers’FORUM #204 3
 newsFRONT
HEADLINES

The latest in the world of books, the internet and publishing – written by you

Discounter’s unseen cost

’’ Amazon has come in for more
criticism for asking warehouse
staff in the US to promote the
company on Twitter, in return
for time off work. According
to website TechCrunch, 14
members of staff have signed up
as ‘ambassadors’ to post upbeat
messages on social media.
A typical tweet said: ‘Did you
know that Amazon pays warehouse
workers 30% more than other
retailers? I feel proud to work for
Amazon – they’ve taken good care
of me. Much better than some of
my previous employers.’
A former worker told
TechCrunch: ‘Becoming an
ambassador was a way to get
out of loading trucks, or packing
boxes for ten to twelve hours.
I stopped doing it after the first
year because it didn’t pay more.’
Amazon, who announced
plans to open ‘fulfilment centres’
in Rugby, Bristol, Bolton and
Coventry, with jobs advertised at
£8.35 an hour or more, has faced
criticism for stressful working
conditions in its warehouses.
Southend-on-Sea employee
Amazon tax touted to save high street
’Government
’Booksellersis considering
have welcomed signs that the
taxing Amazon and other
online retail giants based on their revenues rather
than declared profit. Chancellor Philip Hammond
said that the Government may bring in an ‘Amazon
tax’ to help ‘rebalance the playing field’ between
physical and online retailers.
Amazon UK paid just £4.6m in corporation tax
in 2017 from a huge £9bn turnover, down almost half
from the £7.4m it paid in 2016.
Speaking to the Guardian, Hammond said: ‘We
want to ensure that the high street remains resilient, and that we also make sure that taxation is fair
between businesses doing business the traditional way and those doing business online.’
Booksellers Association president Nic Bottomley, owner of Mr B’s Emporium of Reading Delights in
Bath (pictured), said it was ‘great’ that the Chancellor recognised there was a problem and said the high
street was under ‘great strain’. The BA has called for the Government to overhaul business taxation,
which has failed to keep up with the challenges presented by online global retail.  Elaine Parson
Guardian that he was on his feet during a televised cricket match to Libraries Champions for England,
for 10 and a half hours per shift thank her for the publicity. Scotland and Wales respectively.
and had to pack an item every The police officer turned The role includes helping
15 seconds or face a warning. bestseller tweeted a TV grab of libraries who want crime writers
the woman during the test match as speakers, supporting libraries
between England and India in under threat via social media,
Nottingham. Following the appeal, and seeking ways to build closer
Author bowled over which was re-tweeted nearly links for the good of libraries and
8000 times, Janice Atkinson came CWA members. The trio take
’tracked
’Authordown
Clare Mackintosh
a woman who was
forward as the reader, adding that
the book was ‘the best I’ve read
over from Ruth Dudley Edwards.

Aaron Callaway wrote in the
Poetic thank you
seen reading her novel I Let You Go
for a long while’.
Mackintosh, who thanked
Janice by posting signed copies Do you need a kickstart?
of her two other novels, said: ‘I
knew nothing about it until I got
’Kickstart
’The Kimberley Chambers

’’ 2018 marks 100 years since the end of

the First World War and to commemorate
a barrage of messages from
cricket-loving family and friends,
Prize is designed to
help open doors for writers who
the anniversary, the Royal British Legion and from readers. As an author need a leg-up into the world of
has created a poster featuring 41 First it is really lovely to see someone publishing. Bestselling author
World War poems. The war affected a reading your books.’  Sam Todd Kimberley Chambers’ prize offers
generation of artists, from Edward Elgar one lucky recipient £1000 to help
to JRR Tolkien, and prompted some of our with writing essentials. They also
most recognised verses, such as those from In Flanders Fields by win time with Chambers’ editor,
John McCrae and Dulce et Decorum Est by Wilfred Owen. CWA appoints UK writing tips and feedback, and
The Poetry of the First World War print is available from the Libraries Champions an offer of representation from
Poppy Shop (www.poppyshop.org.uk), the Legion’s official store, the prestigious Peters Fraser &
for £19.99 (excluding frame). All profits go directly to the Legion
and their continued work in providing care and support to ’Association
’The CrimehasWriters’
appointed
Dunlop literary agency.
Entrants will be asked to
members of the Armed Forces, veterans and their families. authors Priscilla Masters, John submit the first three chapters
Dean and Jan Newton as its new of their fiction novel, a short

4 Writers’FORUM #204
 synopsis, and a short paragraph
about why they need a kickstart
to KimberleyChambers@
HarperCollins.co.uk
The judges will be looking for
someone who stands out from
the crowd, demonstrating gritty
determination and a flair for
storytelling. The closing date for
entries is 31 October 2018. For
more information, visit www.
kimberleychambers.com/kickstart
Phil Barrington
Author’s notes stolen
Women thinkers wanted
Writers of the world unite!
’authors
A new prize for women
’ Author Natasha Carthew is planning
a ‘working class writers’ festival’, after
aims to shine a spotlight
on contemporary female
finding that she met very few writers from philosophers. The Thinking
a similar background on the festival circuit. Woman’s Writing Award,
After posting a tweet on the subject in for a non-fiction book with a
July, the Cornish author, who has written philosophical theme, has been
three books of poetry and two YA books launched by author Kate Jegede.
published by Bloomsbury, received offers of support from author The winner will receive a
Kit de Waal, the BookTrust, Prima magazine and many others. manuscript assessment from
A festival is now being planned for 2020. The Literary Consultancy, a
Carthew said: ‘The core values that have been raised so far year’s subscription to the RSA
are that we’re accessible to everyone in terms of cost and that all Fellowship scheme, and a meeting
writers and performers are on a more equal playing field when it with LAW agency. The prize is
comes to fees. It’s also my ambition to fill the festival with free or free to enter. More details at
minimal-fee workshops so people from all backgrounds can access www.literaryconsultancy.co.uk

’afterAnhisauthor is appealing for help

Moleskine notebook,
knowledge and encouragement without worrying about cost.’

containing a year’s worth of notes

for his next book, was taken from
a pub in Bristol. Tom Cox, author
of The Good, The Bad and The
Furry, said the notebook was in a
bag stolen from the Red Lion pub
in Whitehall Road. He posted an
appeal on Twitter.
It is not the first time Cox has
experienced bad luck with a draft.
He also lost 23,000 words of an
earlier book, 21st Century Yokel.
Nine Witches Wood. The £2000
prize is given every year for
stories set in Scotland.
Featuring characters from
Scottish mythology, the entry was
described as a ‘quirky whirlwind
of an adventure’.
Charity shop treasure
Buckinghamshire. He realised it
was by the 18th-century artist
Giovanni Battista Piranesi.
The book, which was part of
a large anonymous donation to
the shop, contained 52 drawings
of Rome and sold for more than
four times its initial estimate.
Flash workshop
Secret book
’Korean
Booker prize-winning South
author Han Kang has
become the fifth author to be
asked to donate a new work to
a library of books that won’t be
opened for 100 years.
The Future Library, in Oslo,
Norway, is a project by Scottish
artist Katie Paterson, which each
year invites a renowned author

’ A book of etchings found to write a new book that will

Kelpies prize winner

in a charity shop has fetched
£30,000 at auction. Despite
missing a front cover, the
’is holding
Our agony aunt Della Galton
a one-day Flash Fiction
be locked in a room in the city’s
Deichman library until 2114.
workshop in Bournemouth from As part of the project, 1000

’ Former nurse Hannah Foley

has won this year’s Kelpies Prize
for her story, The Lost Wizard of
book of etchings attracted the
attention of volunteer Tim Street
at the Oxfam shop in Olney,
10am to 4pm on Saturday 3
November. It costs £45. More
details at www.dellagalton.co.uk
spruce trees were planted outside
Oslo, which will be ready to turn
into paper to print the works.

ps
and flash com
y, poetry

ODD SPOT BY HUGH SCOTT

mous stor
world-fa
Hugh Scott is a Whitbread-winning author. He writes and illustrates for The Park Free Press

0 in our
win £75

Send us your news

iT
Sell
e To
wher
e

e
To wriT

DenC
whAT
e
To wriT
how

ConFi sters
and the best item Boo
G

each month wins a

WRITIN
GROUPS
to
eN’S where ort
ChIldRSeRIeS find supproad
BOOK on the ion
and Quick to pub
licat

year’s subscription
Authorducer s
tv pro er project
writing
Cas Lesther help you
shares se that will one
experti r the big
conque nt
viewpoi

’theseWepages,
right
sing the
0
#191 sep

s
Choo ket new try
0000

Skill s and mar poe

want short news items for

exercisenon-fiction and
33
2017 •

kshops, the top

th wor better fiction,
6168

Tips from of sagas

every mon
£3.95

write s
65

you tool queen colour

to help Pow er
cuts
why
Fuller
short
ton
cters
Jean
Advancedrs using her chara
too late? codes
Am i res for autho word

either researched directly

r reassu
the Mento ed he’s Microsoft
r worri
a write to be interesting
too old

by you or sourced from press releases or

publications and rewritten for us. In return
you’ll get a byline and the best item each month wins a
free subscription. This month’s winner is Elaine Parson.
Items should be under 200 words – the snappier the better.
You can attach a good quality photo and please make sure stories
about events are submitted in time. Importantly, you must be able
to prove your story is true and where you found it. Writers’ Forum
may edit any items submitted and if a story is covered by more
than one writer we’ll choose the best version.
Please send items to news@writers-forum.com You can cover
any topic that will be useful, interesting or amusing to
writers. The subject should be big enough to appeal to a national/
global readership although local news might still inspire or
Derek wondered whether he should start entertain writers in other regions. Get writing and good luck!
to take more desk breaks.

Writers’FORUM #204 5
 HOW I WRITE
Find like-minded
people to help
Debut author Jane Lacey-Crane tells Kate Chapman
about her journey to publication
T
he support and guidance of fellow
writers has been instrumental
in Jane Lacey-Crane’s road to
publication, and she urges all
aspiring authors to seek out other writers
to help them hone their craft.
Her first book Secrets and Tea at Rosie
Lee’s, published earlier this year, was
shortlisted for the Romantic Novelists’
Association’s Joan Hessayon Award for
new writers and Jane is adamant that
joining the RNA has been the best move
she’s made for her writing career.
‘The RNA is amazing – if you write in
this genre then you need to be part of it.
There’s access to a wealth of information,
Facebook, Twitter, websites, a conference
in July, local chapters who hold their
own meet-ups, plus lots of other events.
It does such a good job. Not only do I get
to meet other writers but also industry
professionals, agents, book buyers. Its help
and support has been invaluable
Jane, who lives in Spalding, Lincolnshire,
is also an advocate of creative writing
classes and writers’ groups.
‘I joined a class several years ago and
it was great – I got to meet like-minded
people and it was good having someone in
charge who knew what they were doing,’
she says. ‘You could sit in a room and write
for ages, and you might end up with an
absolute gem, but I am of the opinion you
need someone else’s thoughts and opinions
too. And while family and friends are
good, they are only going to say what
you’ve produced is brilliant – or you’re
going to end up falling out.
‘If you’re able to get to a writing class,
I’d definitely recommend it. Our tutor
moved away after a couple of years,
but our core group didn’t want to stop
meeting. We found it helpful to form our
own group, Red Wine Writers. It’s nice
to be with people who understand what
you’re going through and what you’re
trying to achieve.
‘Our membership has doubled and is
really diverse, covering lots of different
6 Writers’FORUM #204
genres, but the support is wonderful.
We share and give constructive feedback
and in between meetings we have an
online forum where people can post their
work in progress, too. I shared chapters
from my book as I was writing it.
Up until three years ago Jane mainly
wrote short stories, some of which were
published in the group’s anthology,
Plonk. It was a writing competition on
ITV’s Lorraine that sparked the idea for
Secrets and Tea at Rosie Lee’s. Although her
extract didn’t place, she knew she had the
beginnings of something great, and also
recognised the story would need to take
a longer form.
Her debut is a modern day romantic
drama and follows Abby Cowan – a
woman fast approaching 40 and fighting
a serious case of empty nest syndrome.
Jane, who grew up in the East End of
London, based several of the characters on
people she knew from her childhood.
‘As soon as I came up with the idea, I
felt it could really go somewhere, I knew
what I wanted to say and I just had to tell
it,’ she says. ‘It took around three years
to finish the manuscript, as I didn’t have
the luxury of being able to sit at my desk
all day.
‘Then I found out about the RNA’s new
writer scheme – they only take 150 people
on a first-come-first-served basis, so I made
sure I was there at a minute past midnight
to get my email in!’
Jane’s application was successful and
she submitted her manuscript for critique
and re-wrote it after taking on board the
suggested recommendations.
‘I submitted it to various agents, but
didn’t have any luck, so I went through the
Writers’ and Artists’ Yearbook looking at all
the publishers who took unagented books
and sent it out again,’ she recalls.
‘I couldn’t believe it when I was offered
two contracts – one from Aria Fiction
and another from a small publisher – and
found myself in the position of having to
choose. I signed with Aria and am now

Jane with her writing group’s
anthology and (inset) the
cover of her debut novel
contracted to a three-book deal, with
the second hopefully due out around
Christmas.’
Jane has always been passionate about
books and writing, especially Mills and
Boon romances, which she’d buy in bulk
from jumble sales. She originally wanted
to be an actress but eventually started
working for a cable television company,
where she wrote scripts for documentaries.
This work petered out when she moved
to Lincolnshire with husband Jason, but
she continued to write alongside part-time
jobs that fitted around looking after her
children Grace, now 12, and Sam, 10.
‘I’m incredibly lucky – a couple of years
ago my husband said that if I was going to
take my writing seriously and treat it like a
job he’d support me. It’s a luxury that a lot
of people don’t have, so I’m very grateful.’
Jane roughly plans out her stories before
writing and makes a timeline of events to
help her keep track of what’s happening.
She sticks to a set routine, working in a
bedroom that she’s turned into a study.
‘The first thing I do when I sit at my
desk after the school run is set a timer
for 45 minutes so I can catch up on social
media. It’s a necessary evil and can take a
huge amount of time, but it has to be done.
‘Once I’m finished I put the laptop on
airplane mode so nothing else can come
through, and I try and work for at least
two hours. I usually average about 2500
words in the morning and then try and do
another hour before I pick the children up.
If I’m not too tired I’ll do another hour when
they’ve gone to bed. I write every day if I
can, even if it’s just a couple of sentences.’
If she’s particularly struggling, Jane goes
for a walk or does a few mundane chores.
‘Sometimes I think you just need to free
your brain space up a bit. Problems solve
themselves subconsciously when you’re
not actively thinking about them.
‘I also have a document on my laptop
where I just type and type and type – it
doesn’t have to make sense, no one else
is ever going to see it, but it gets the
writing muscles flexing – a bit like doing
a warm-up before you exercise.’
Jane’s key advice for other aspiring
authors is to do your research properly
when approaching agents and publishers.
‘It’s no good sending out a blanket
email,’ she says. ‘Get a copy of the Writers’
and Artists’ Yearbook, find all the people
interested in publishing what you’re
writing and target them by name. Make
an effort to give them exactly what they’re
asking for.’
• Secrets and Tea at Rosie Lee’s is published by
Aria Fiction (www.ariafiction.com)
Writers’FORUM #204 7
 READER LETTERS
Writers CIRCLE
Your news and views, writing tips and funny stories
FIRST PAGE TRUE
I’m so glad I read First
PRIZE Page Blues (#203 Sept
LETTER issue) by Douglas
McPherson. I’d started
writing a crime thriller and
spent such a long time on the
first chapter, it almost put me
off continuing with the rest of
the book! I got so frustrated that
it didn’t seem professional and
perfect in comparison to other
authors’ novels, although I had
edited it over and over again.
I put it to one side and
continued to follow my synopsis.
I now seem to be making
steady progress since I stopped
obsessing over the first page!
Douglas is right when he says you
don’t really know your characters
until further on in the story.
It’s true, too, that you do end
up jumping back and forward
between chapters. Outlines come
in handy but it doesn’t mean you
will be writing the chapters in
that order.
How grateful I am for the
advice in his article. Being a writer
can be lonely. I have nobody with
the same interest, or anyone to
ask for advice, so it’s good I can
turn to Writers’ Forum.
Sharon Carey,
Runcorn, Cheshire
DO THE TWIST
I didn’t enter the womag Flash
Comp discussed in issue #203,
but I consider your view that ‘a
truly modern story would just use
characters who are gay and get on
with a more interesting plot’ to be
over-optimistic.
As coordinator of a Bristol
song-writing collective, Act of
Faith, which has an LGBTQIA
ethos, I wish it were true. But I
8 Writers’FORUM #204
FIRST STEPS
GET STARTED
First page blues
Douglas McPherson has a way to beat beginner’s block
by building your story up in layers
I
t’s often said that if you
want to write, you have to
read. It’s certainly true that
also read some of the magazines.
People’s Friend does touch on
this topic obliquely, eg a recent
story referred to a pensioner’s
LGBT-symbolic garden, and there
are characters that defy gender
stereotypes.
And I recall a sweet story in
My Weekly where a grandma
supports a teenager over a
broken romance: but the fact
it was a same-sex one was the
‘reveal’ at the end – which is what
you complained about.
So, being realistic, I guess there
is still some way to go on pushing
these boundaries!
Sue Weekes,
Ashley Down, Bristol
Ed: My Weekly has occasionally run
the twist as a ham-fisted attempt at
being inclusive. Most editors share
my view and reject it. No one would
suggest ‘he’s black!’ as a twist,
and ‘she’s lesbian!’ is no different,
however ‘sweet’ the writing.
Writers can cover such topics,
but make a character the one with
prejudices, don’t assume the reader
that it’s easy to be intimidated
by the polish of the prose.
From the very first line, every
sentence is perfectly placed,
like a series of stepping stones,
to lead you into the story. The
characters are fully formed and
the dialogue perfectly pitched
to reveal their inner feelings.
The author, in short, writes
with an assurance that suggests
they know exactly where their
story is going.
Faced with writing like that,
it’s easy to look at the first page
of your own story and think:
‘This is rubbish. It just doesn’t
compare.’ I think that’s why
many would-be writers give up
at the first page.
After all, we’re continually
told that the first page is the
most important, that you have
to hook your reader with the
first paragraph or first line. If
you can’t get that right, what’s
the point in continuing?
First draft
The problem with reading a
to see and emulate. After all,
a printed page is not like a car
slow motion you can see him
slip that card out of his pocket
published first page is that you
are looking at an umpteenth
draft that has been rewritten,
– you can’t hide the engine and
transmission under the bonnet
right in front of your eyes; it’s edited and polished to within
an inch of its life.
has them. A more progressive twist
would be the teen imagines her gran
will be angry but in fact she’s known
for ages and is fine with it.
However, most editors will have
seen that twist a lot, too, and it’s still
making being LGBT an ‘issue’, rather
than simply having characters who
are as diverse as the real world.
PAIN & PLEASURE
Writers’ Forum is certainly a
conundrum – every month it
brings me as much pain as it
does pleasure! Last issue, it was
illuminating to read how Douglas
McPherson deals with the murder
of his favourite characters –
there’s the positive – but then he
backhands with the idea that two
and even three complete rewrites
are needed to get a polished
story. I am struggling find time to
write a first draft let alone more.
The lovely (prolific!) Julie
Cohen told us of visiting locations
on both sides of the Atlantic that
featured in her novel Together,
whereas I can barely afford a bus
You discover your story as you write
it. Your hero will become more real to
you as he faces the plot’s challenges
lame like All’s Well that Ends
Well. Just what was Tolstoy
thinking?
What’s more, it’s just not
possible to edit a first page to
the point of perfection until
you’ve written the whole story
and typed The End.
Layers
The reason is that, while we
read stories from beginning to
end, they aren’t written that
way. Authors skip back and
forth across the manuscript.
They might start on the
first page, or they might start
somewhere in the middle, then
jump ahead to the end and
write the beginning last.
They might start at what
they think is the beginning,
then realise that they have to
start the story at a completely
different point in their
characters’ lives.
Even when a story is written
more or less in the order it
finally appears in print, the
first page will seldom end up
the way it was first drafted.
That’s because stories aren’t
TRICKS OF THE TRADE
Douglas shares writing tips he’s learned through experience
#44 Write now, trim later
The pace of a story can often only be worked on once you have
completed a full draft and can see exactly how much story you have to
fit into the required wordcount.When you’re writing early scenes, for
example, you may think: ‘I have 3000 words to fill – I’d better trowel
on the description and dialogue to use some words up.’ Further into
TAKE THE STEP
Lesson 1
so much told as built. challenges, forcing you to
The danger in
comparing your work
The first draft is a matter make decisions about him. to published writing
of laying the foundations –
basically getting all the plot
You may be three-quarters
through before you think: ‘Ah,
is that you’re reading
a thoroughly reworked
points in the right order. he’s quite feisty and has a chip
From there, the story is built
up in layers, adding a bit of
on his shoulder,’ or: ‘I could
give him a Cockney accent that
and edited umpteenth
draft. The first draft
would have been much
character here and a bit of makes him feel self-conscious
atmosphere there.
Again, that doesn’t happen
in this setting.’
The process of developing
clunkier and a far less
intimidating example
in chronological order. In a character in the authorial to judge yourself
the redrafting and editing
stages, writers are once again
sense is different to the way a
character may develop in the
against.
skipping back and forth across story sense, such as maturing Lesson 2
the manuscript, fixing a bit
of dialogue three-quarters
as a result of his experiences
or letting go of fear.
It’s not possible to
write a truly assured
through, then tinkering with So although it may take
a bit of description near the
beginning.
half the story to bring your
character alive to you, you’ll
first page until you’ve
written the whole
That jumping about is how want to go back and make story because until
a good story ends up feeling so
rounded and consistent.
sure that your readers meet
a fully formed, feisty, chip-on-
you’ve got that far
you won’t know your
his-shoulder Cockney from story, characters and
Journey
The reason authors write that
the beginning.
It may also take you until
setting well enough.
way is because you discover the end of your story to spot Lesson 3
your story as you write it.
When you begin, your hero
its overarching theme, such
as the importance of finding
There’s no point
getting hung up on
may be a bit vague in your your place in the world. Once
own mind, but he will
gradually become more real
you know that, you may want
to make it more explicit by
writing a ‘perfect’ first
page in a first draft,
because you’ll end up
to you as he faces the plot’s dropping a hint on page one
that the hero feels out of place changing it later.
when we first meet him.
Homework
Conclusion If you have a story
There’s no point, then, in that stalled at the first
trying to write a perfect first
page on your first draft,
because you’re inevitably going
page, force yourself
to finish it. Only when
you have a complete
to chop it around later.
The way to proceed is to get
your first scene down as best
first draft should you
go back to the start
and look at ways it
you can, ignore its faults and
get the rest of the story written. could be enhanced to
ticket to Bognor. Would the tax
office accept that a week in Santa
Cruz was critical to my novel’s
development?
Reading Barbara Dyne’s
‘Creating different voices’ led to
a hissed rebuke in a cafe from
my husband. I’d leant a little too
obviously towards the adjacent
table, scribbling their words on
the paper tablecloth. The waiter
whipped the cloth away and the
precious notes were lost.
I retreated to the magazine’s
pages, looking forward to
tackling my first Flash Comp,
but ‘Chicken’? Really? Pain and
pleasure – it’s going to be an
interesting month.
Jo Scott,
Broadstairs, Kent
ALL CHANGE
I recently became a freelance
writer after 20 office-bound
years in journalism and PR.
While I’m yet to fully achieve my
goal of writing more fiction (no
journalism or PR quips, please)

WIN A YEAR’S SUBSCRIPTION!
The writer of the prize letter each month will win
a year’s subscription to the magazine. Please make
sure that you include your full name and address in
your email. Write to letters@writers-forum.com
I’ve already learned a great deal
about where to write for the
best results. It’s interesting to
note that your Where I Write
subjects tend to work in the same
place, as I don’t always find this is
conducive to creativity.
A change of scenery can
successfully change my mindset.
If I’m tackling business writing for
clients, a quieter environment
usually works best, such as home
(if the kids aren’t around) or
the library. For a more creative
approach I prefer the background
hubbub of a cafe or pub.
Take the website copy I just
completed for a marketing
consultancy, who requested an
irreverent tone. I wasn’t feeling
too upbeat when the task arrived.
Fortunately, I noticed something
funny happening next door. With
his wife and children away, my
neighbour had invited his friends
to an al fresco weight-training
session, complete with thumping
music and barbecue.
I shifted my desk outside in the
sunshine. Far from distracting me,
the grunting and hollering over
the fence set me giggling, and I
was soon in the right frame of
mind to produce crisp, humorous
copy, which the client loved.
So, if you need to change your
mood, alter your setting. It will
take the weight off your mind!
Ian McCawley,
Welling, Kent
UNTOUCHABLE
In the #202 August issue I
read the article ‘Make yourself
untouchable’ with interest, but
under the subhead What about
emergencies? I took exception to
the rather dismissive line: Let’s
face it, they hardly ever happen.
Some of my writing friends
and I are aged 50-plus. We have
frail, elderly parents who rely on
us on a daily basis. We’ve had to
deal with recurring emergencies
when they’ve had falls, and when
they been discharged there are
follow‑up appointments to attend.
It can be a real struggle at times
to combine caring duties with
writing. The last casual line was:
You’ll soon see that most things can
wait. It seems to me the article
completely failed to take this kind
of situation into account.
Sharon Boothroyd,
Brighouse, W Yorks
Ed: I sympathise with your ongoing
situation but think you are defining
emergency in a different way to the
author. She did suggest making sure
someone can always get in touch
and talked about adapting writing
time around such commitments.
FLASH BULB
I may not have won, but being
highly commended in your
Flash Comp was like a creative
explosion in my mind. In the
space of two days I’ve started two
short stories and already formed
ideas for the next competition.
Writing is like breathing for me,
but it has become a little laboured
of late. Seeing my name was a jolt
to restart my imagination.
I would urge anyone to start
entering this wonderful monthly
competition. Writing to such a
tight wordcount and theme is a
great way to practise your craft,
and knowing you only have to
wait a few weeks to see if you
have been published makes a
refreshing change from months
of waiting for submitted work
elsewhere. Thank you.
Angela Keeler,
Lowestoft, Suffolk
JUST FOR FUN
Oh dear, it looks like Antonia Hodgson was having
a bad writing day. Can you spot the 20 errors in
this ‘first draft’ of The Devil in the Marshalsea?
‘You have the luck of the devil Tom Hawkins.’
I grinned at the man across the bench. It was a warm
september night I had a full purse for the first time in month’s
and we had just found a table in the moist disreputable
coffeehouse in London. Life could not be better. ‘It wasn’t luck.’ I
replied, shouting over the din.
Charles Buckley, my oldest friend, shot me a look I had come
to know every well over the ears: exasparation, dissapproval –
and a flicker of amusement glowing deep in his eyes. I settled
back, content, and lit a pipe. One of my greatest pleasures in life
was making Charles laugh when he knew he shouldn’t.
A serving maid past close to our table – a pretty girl called
Betty with tight black curls and skin the colour of roasted coffee
beans. I beckoned her over and ordered a bowl of punch.
‘A bowl of coffee,’ Charles corrected. ‘And then home. You
gave me your word, remember?’
I slipped a shillling into Betties hand. It felt good to have
money again – and to spend it. ‘Coffee. And a bowl of punch.
We’re celebrating,’ I said, dismissing Charle’s protestations with
a lordly waive.
Betty arched a eye brow. There were only two reason to
celebate at Tom King’s coffeehouse – a win at the tables or a full
recovery from the clap.
‘I took ten pounds last night,’ I called out hastily, but she
was already gilding through the crowds to the coffee pots
hanging over the fire.
Sent in by Sue Martin, from Dobcross, Oldham, who wins £25
(typo). 20 gliding (wrong word). (misspelling). 10 disapproval
reasons (plural). 19 to celebrate (wrong word). 9 exasperation,
17 eyebrow (one word). 18 only two very well (typo). 8 over the years
article needs n before vowel). I (wrong punctuation). 7 to know
word). 16 arched an (indefinite disreputable (typo). 6 wasn’t luck,’
after name). 15 a lordly wave (wrong (no apostrophe). 5 in the most
14 dismissing Charles’ (apostrophe comma). 4 first time in months
13 into Betty’s hand (wrong word). capital). 3 night, I had a (missing
12 slipped a shilling (extra letter l). 2 warm September (missing
passed (wrong past tense). 1 the devil, Tom (missing comma).
(misspelling). 11 serving maid Corrections
£25
Could you ruin a passage from a modern novel? Send your
error-ridden First Draft (around 250 words), and the 20
solutions, to firstdraft@writers-forum.com Please note that entries
are accepted via email only. We pay £25 for the best published.
Writers’FORUM #204 9
 FIRST STEPS
GET STARTED
Living wage
Douglas McPherson shows you how to join the
lucky 13 per cent who live off their words alone
T
hanks to free online
publishing, there are
probably more people
launching books in to
the market than ever before.
Many no doubt see it as a route
to kissing the day job goodbye.
Easy publishing does not
equate with easy money,
however, and a lot of aspiring
authors will find self‑publishing
to be an expensive hobby when
they start paying for editing,
cover design and Facebook
advertising without any
guarantee of recouping the
outlay through sales.
As a result, it’s common
to find people asking online
10 Writers’FORUM #204
writers’ groups: ‘Is it possible
to make a living from writing?’
According to the Authors’
Licensing and Collecting
Society, the chances are slim.
Their latest survey of 5000
wordsmiths found the average
professional writer makes just
£10,500 a year and that only
13.7 per cent earn enough to
live solely off writing.
Yet it is entirely possible to
join that lucky 13 per cent if
you adopt a varied approach
to writing.
Novels
Writing a novel is probably the
number one ambition among
aspiring writers, but it also
offers some of the slimmest
chances of making money.
Rich List authors like Stephen
King, JK Rowling and Danielle
Steel are very much exceptions
to the rule.
Most literary novelists will
need the publicity of winning
a major prize before garnering
more than tiny sales, while
genre authors tend to need
several novels on the market
before the combined sales and
lending library payments will
add up to a reasonable income.
Even some of the biggest
names only became bestsellers
when they were lucky enough
to have their books adapted to
a film or TV series.
If you want to make money,
novel writing is best regarded
as a long odds game. You won’t
win it if you’re not in it, but if
you want to give up your day
job sooner rather than later,
it’s better to combine novels
with some quicker and more
reliable ways of making cash.
Such as…
Articles
Writing features for magazines
is the most attainable way of
making money with words.
The vast range of mags open
to freelances means you only
need to write about subjects
that interest you. And because
you pitch ideas rather than
finished articles there’s no
writing on spec. Whenever
you sit down to write a
commissioned piece you will
have a guarantee of being paid
for it, generally within a fairly
short time.
Article writing is a good
foundation for novel writing.
Interviewing people will give
you ideas for plots and insights
into settings – you’ll be getting
paid to research your novel.
Journalism is also a proven
stepping stone to book deals.
It will hone your writing skills
and commercial instincts and
give you the ‘platform’ that
publishers like a writer to have,
because it will help you sell
books. Caitlin Moran, Tony
Parsons and Frederick Forsyth
are all journalists-turned-
bestsellers.
 For most successful novelists
a novel was not the first thing
they had published TAKE THE STEP
Lesson 1
Writing novels is one
Short stories Young who went from People’s whole thing on spec – an idea of the hardest ways
Although the number of Friend stories to a book deal and sample will be enough to to make a living,
magazines that print fiction with Headline. secure a commission. especially in the short
is relatively small, it’s still Non-fiction books and
term, but there are
easier and much quicker to Pocket novels feature writing go hand in
get short stories published in My Weekly and People’s Friend hand. A track record writing
many more reliable
women’s magazines than to Pocket Novels pay a one-off on a subject is a good route sources of income
find an agent and get a novel £300, which isn’t a lot for to a book deal and, because for writers, including
published. 40,000 or 50,000 words. But magazine editors like magazine features,
Word-for-word, short stories most authors re-sell the large- commissioning from experts, short stories and
will often pay more than print rights for an extra £450 having a book on your CV will business writing.
novels and it’s possible to sell and earn £100-plus per annum help you sell more articles.
them on a regular basis. from library lending royalties. Lesson 2
Compared with article Add additional earnings Business writing Writing fiction
writing, it would be hard from self-published ebook For those with the relevant and non-fiction for
to make a living from short sales and the figures compare background and expertise,
magazines can be a
stories alone. But, combined favourably with mainstream there can be a great deal of
good stepping stone
with articles, they scratch your publishing advances while money to be made from writing
fiction itch while adding a providing a much easier route all sorts of business material, to a book deal because
decent amount overall to your to publication with no need for from brochure and website it will hone your skills
earnings. an agent. content to ghost-writing books and give you a track
A track record writing stories and newspaper articles on record of publication
in well-known magazines Non-fiction books behalf of business leaders. that publishers are
will help you secure a book Non-fiction is easier to sell looking for.
deal, and writing stories in the than fiction, because it’s the Portfolio career
women’s mags will be a good subject rather than the writing Some of the above may seem Lesson 3
way of promoting your novel that people buy. a long way removed from Many established
when it comes out, as they will Advances tend to be higher, the dream of writing only writers are active in
generally run a plug or special because there’s less risk for bestselling novels, but the
a wide range of areas,
offer on copies. the publisher. You don’t need fact is that for most successful
In the #201 July issue, for an agent. And, as with articles, novelists a novel was not the
from fiction to non-
example, we featured Glenda you don’t need to write the first thing they had published. fiction, and aiming to
Most cut their teeth on short be similarly widely
stories, articles or even published will give you
TRICKS OF THE TRADE advertising copy. Dan Brown’s the best chance of
first book, for instance, was a success.
Douglas shares writing tips he’s learned through experience humour title written under a
pen name. Homework
#45 Write simply Many celebrity authors Try a different form of
continue to enjoy varied writing. Put aside your
George Orwell said good writing is like a window pane. What he writing careers that combine novel for a while and
meant is that you look through a window at the view: you don’t want novels with magazine and
make a list of things,
to see the glass. It’s the same with writing. The best writing is almost newspaper columns, short
invisible. We forget that we’re looking at words on a page, because stories, memoirs, non-fiction
perhaps linked to your
what we’re really ‘seeing’ is the characters, the action and the world of books, children’s books, scripts research, that you
the story; or, if it’s non-fiction, we’re forming a clear understanding of and travel writing. It’s a good could write an article
the topic.The best way to achieve that is to write simply. Uncommon habit to get into from the or short story about.
words and complicated sentences that force us to stop and go back beginning.
to try and figure out what the author just said take us out of the It’s all writing, and by trying • Start Writing
world of the story. Adopting a simple, easily digested writing style is as many different types as Today by
also the best way to move effortlessly between different fiction and possible you’ll not only stand Douglas
non-fiction markets, because good writing is welcome anywhere. a better chance of getting McPherson is
published in the near future, available as
■ If you have a question about getting started as a writer, but you’ll hugely increase your an ebook to
please email Douglas at gettingstarted@writers-forum.com chances of making a living download from
from your words. Amazon now

Writers’FORUM #204 11
 Professional Self-Publishing
“ I wouldn’t hesitate to recommend them for their
professionalism, customer care and post-production
assistance, all at a reasonable price.“
Adrian Churchward Moscow Bound and Dancing With Shadows

How can we help you…?

∙
∙
Editing and proofreading
Book cover design CONTACT AN AUTHOR
∙ Trade distribution
∙ Book marketing
∙ Worldwide Amazon listing Advertise your availability
∙ Author websites and social media
∙ One-to-one support for talks, school visits,
workshops and interviews.

contactanauthor.co.uk
Discuss your next book with Publishing Team Assistant Anna Loo
E: assistant@silverwoodbooks.co.uk | T: +44 (0)117 910 5829 Now in its 12th successful year!
www.silverwoodbooks.co.uk

s 2 0 18 ity
A w ard ging opportun
tion areer-chan
c
’s Fi e deadline A c
e n
Wom
LINE
d s On DEAD 18
r 0
ion a w a
CT O BER 2
ct 1O
Four fi

or
a n y genreenf tly
in r
5 , 0 0 0 wordswho are cur
t1 en
e l s of at leadsers, by wom
For nroevn or YA renaovelists
l
rsona
a nd pe script
vel
l d
chi lished a s train in g anu
hing’ itors, plus m
n o unpub d ‘pitc
n’s
ere d de
be off agents an cy.
d r e nalist s w il l
terary sultan
chil petition
Five fi ctions to li iterary Con .co.uk
t ro d u T h e L w. m slexia
in w
ack by visit w
com ,000
feedb w t o enter
nd ho
e tails a

s t p ri z e £5 NE RUNDELL, PER For f u ll d

1 KATH
ERI MA C
OO
ES: GEM
JUDG B L E AND
A NO
FION Details of all four Women’s Fiction Awards
can be found at www.mslexia.co.uk/competitions

Tales of my GURU
This month the mystery mentor explains the meaning of flow
I
was lounging beside a coffee pot in
the conservatory of my favourite hotel.
Outside, mountains lay about with their
knees up. A cigar, I thought, would be –
A cigar was jammed between my lips
and a flame applied.
– luxury.
I raised my eyebrows at the waiter who
had read my thought, and I said: ‘If only
you could solve the problem of Flow, my
life would be perfect.’
So he bobbed away and returned with
an ashtray and a bloke.
I sighed, for the bloke was my Guru.
If you are new to these literary ambages
of mine, you won’t know that my Guru
isn’t a bloke at all but an Original Thought,
extant since the beginning of time, and
stuffed with advice about creative writing.
And Flow was my current problem.
The problem, I must tell you, was not
actually mine, but Apricot Flan’s (who
is not a pudding but a well-eyelashed
member of my writers’ group) and it was
my responsibility to advise her – but I
hadn’t the foggiest.
‘When you read a story,’ said my Guru,
pouring himself coffee and selecting a
sandwich that had also arrived with the
waiter, ‘one event follows another, and
there is no problem in understanding the
relationship between the events.
‘This Flow continues throughout the
story, and at the end the reader puts the
book away, resolving to read it again
because it was jolly good. This is easy to
understand.’
And he looked at me as if expecting an
argument, and selected a second sandwich.
‘Everyone knows that,’ I said, ‘but not
every writer can do it. Apricot Flan –’
‘Beginner writers,’ explained my Guru,
‘know it, but they make a basic error: they
confuse tension in the story with tension in
the writing.’
He muscled another sandwich into his
mouth.
‘You’ll have to explain that,’ I said, my
gaze on the mountains and the placid sky.
‘Tension is essential in any story. Who
murdered the vicar? Why are the aliens
bent on destruction? These are the sorts of
questions that create the necessary tension,
and when they are answered, the tension
is gone and the book is finished. As I said,
tension in the story.’
by Hugh Scott
‘I understand.’ I helped myself to
a thoughtful sandwich. I really did
understand. ‘But –’
‘Tension in the writing is the error,’
said my Guru, ‘and it is difficult for the
inexperienced writer to know that it is
wrong; and it is wrong because it breaks
the Flow of the story, which means that
one event does not relate to the next.
‘The reader is puzzled by the hero
being in Spain in one paragraph – hearing
Spanish accents, sweating Spanish sweat
and dining on things that sprawl on his
plate like so many resentful bugs – and in
the next paragraph, he is peering through
his windscreen at swirling snow, hoping to
see Sylvia before she leaves for America.’
He paused, and I knew from his
innocent eyelids, as he opened his next
sandwich to examine the contents, that he
was actually waiting for me to ask what
could be wrong with that.
‘What?’ I asked –
‘I’ll tell you what is wrong!’ cried my
Guru, slamming his sandwich shut.
‘Presenting the reader with an unexplained
paragraph is like your cigar waiter
slapping down a raw kipper without
telling you who ordered it, how to cook
it or how to eat it without cutlery. It is
confusing!
‘Only when you realise that it is a
chocolate kipper with the Compliments
of the Management, does your confusion
vanish. By not explaining the story, the
writer, too, is creating confusion.
‘But if the writer says that her hero has
LIKELY STORIES
flown from Spain to Heathrow, hired a
car, and is driving through delaying
snow to reach his sister, Sylvia, who is
determined to leave for America to marry
a con man – then everything is explained.
‘The reader is not confused through lack
of information, but can enjoy the tension,
which is, wondering if the hero will be in
time.’
‘Crumbs,’ I said, sensing the arrival of
contentment among the lazy mountains.
I breathed in my cigar.
‘Sometimes,’ said my Guru, ‘such
confusion is all in a single amateur
paragraph. The hero is in Spain. He
mentions many things that have not yet
appeared in the story, thus:
‘There is a bit of a problem in Malta. Sylvia
is off to America. Jeff and J must go to Madrid
for the conference. And who knows what
Malcolm will get up to when the parcel arrives.
‘This is the writer trying to create
tension by not explaining anything. So the
readers’ thoughts are danced all over the
map, while wondering who Sylvia, Jeff and
Malcolm are, and why has no one has ever
mentioned a conference or a parcel.
‘Confusion, you see, not tension. Love to
Apricot Flan.’
And he faded into the steam of the coffee
pot, leaving me to my cigar and the sound
of a slapped-down chocolate kipper.
Use it or lose it
A kipper, as you know, is a split herring, smoked
to preserve it. You may not know that it is also
a salmon treated the same way.
Here is how to use it:
Place your kipper in the frying pan; fry lightly
until sober, then eat, with lots of coffee.
That’s what I do, anyway.
The early adventures
of me and my Guru are
published in a super-
beautiful hardback, Likely
Stories, published by How
Stories
To Books for less than a
tenner – that’s the price of
five coffees. Treat yourself.
Writers’FORUM #204 13
 MARKETING
IT’S A WRAP!
Barbara Henderson explains how she went about making
a cinema-style trailer for her latest book, Wilderness Wars
I
first ran the idea past my
publishers, Cranachan
Publishing, back in 2016. ‘I
quite fancy having a go at
a book trailer,’ I said blithely.
‘I’m a drama teacher. How
hard can it be?’
Little had I counted on the
complexity of the process when
I started out. However, I now
have three book trailers under
my belt. The first two were for
children’s novels set during
the 19th century: Highland
Clearances tale Fir for Luck
and Victorian-boy-on-the-run
adventure Punch. When it
came to making a trailer for
my latest book Wilderness Wars,
a contemporary children’s
eco-thriller, I had the process
pretty well worked out.
1
Find someone with
the necessary skills.
A young acquaintance,
Ross Wiseman (www.
wisemanfilms.co.uk) had just
graduated with a film degree
in Glasgow and his parents
lived nearby. Keen to build up
his own portfolio, he agreed
Ross, Isla and Barbara
14 Writers’FORUM #204
to visit, film and edit the
trailer for a very reasonable
rate, as long as I did all of the
organising. Deal!
If you don’t know anyone
suitable, contacting a local
college or university may
be a good starting point, or
try Googling freelance film
makers in your area.
2
Create the script.
In the first instance,
I had to decide what
to include in my book
trailer – I knew it had to entice,
to intrigue.
Focusing on the first crisis
my characters faced seemed
like a good place to start. I
created a screenplay (see right),
drafting the voiceover text
and specifying the shots and
sound effects required.
Being an historical novel,
there was the extra challenge
of sourcing period costumes
and avoiding any evidence
of modern life in the shots.
Rather than filming a bunch
of villagers attacking a sheriff
officer (very hard to make this
look authentic!), I opted for
close-ups of hands and arms
only. Keep your script concise,
achievable and tight.
3
Plan your shoot.
Organising specifics can
sometimes prove tricky.
I had hoped to film at
a nearby folk museum for Fir
for Luck, but it became evident
that their hands were tied by
procedure – we couldn’t film
at short notice and the hire of
costumes proved expensive.
Another museum three
hours’ drive away could help
with both, so extra travel time
had to be factored in. Boxes
of props and provisions were
essential, too.
Look at your script line by
line and identify where you
will make the shot happen,
and what you will need.
4
Recruit the talent.
Conveniently, my son
had donned Victorian
clothes as the Punch
protagonist, running across
cobbles looking terrified. For
Wilderness Wars, my heroine
was female, so I asked around
among friends and found the
perfect girl for the job, Isla.
When I needed a sound
effect of an angry crowd, I
approached a local drama
group, who simply recorded
it at the end of one of their
rehearsals. Perfect!
5
Shoot the footage.
Be pragmatic. It may
rain for eight hours on
filming day. The view
you planned to shoot may be
obscured by a parked lorry.
The stair you wish to film on
may be closed for a wedding
(all of these things happened
to me). Be flexible and never,
never be afraid to ask.
A busy road meant our
low-angle shot of a sign for
Punch proved impossible.
‘Up there, those offices
would be ideal,’ commented
Ross. I pressed the buzzer,
explained the urgency of the
situation to the receptionist at
the other end of the line… and
five minutes later we had the
footage in the can.
If you can’t get the exact shot
you were hoping for, is there
an alternative that would do
the job? Go for that!
6
Communicate
during the editing
process. You are
paying, so if the trailer
does not look or sound as you
hoped, say so.
I told Ross when I wanted
a shot slowed down or if a
certain sound effect didn’t
work for me. He, in turn,
made suggestions and found
suitable music, which meant
the finished product was
much better than I had ever
imagined.
7
Upload the trailer.
In my case, the finished
trailers were uploaded
to my publisher’s
YouTube channel and I shared
the link on my website and all
my social media channels.
If you self-publish, there is
nothing to stop you creating
your own YouTube channel or
simply uploading the file to
your website.
There, you’ve done it. You
have made a book trailer!
 Filming the chase scene (left)
BOOK TRAILER PLAN: WILDERNESS WARS and the props in the surf

Ideas: Ask Eloise? Shots of gulls. Construction work close up. Island far
off. Rough seas. Coral beaches. Summer isles? Handa? Divebombed by
seabirds? Grey skies. Glasgow girl voiceover? 12 year old? BBC footage Book trailer in a day junior sprinter, capturing the
of container sinking? Or guitar/toys sinking into water. Hamster? Broken desperation of fleeing from
trees (Ness Islands). Can Ross record voiceover? Binoculars. 7.00: I look out into the gloomy deadly danger.
June sky. Excellent! Dull and
dreich. Just the atmosphere I 13.00: All is going to plan.
BOOK TRAILER SHOT LIST
need. I pack up the car with Time to stop for lunch.
props: office folders, maps,
Shots/pan of sea/island in the distance/waves/sky. Montage of people in
shoes, binoculars, cuddly toys. 14.00: It has started raining,
high-viz vests shaking hands/Sea sfx
but I feel like weeping with joy
9.00: I pick up Ross, the when the tiny dot I had circled
Voiceover (girl, ideally Glasgow accent): The wind, the
cameraman, and we drive to on the map actually looks like a
leaden skies, the churning moody sea. The ferry, loaded high with
our first location: a building misty isle across the ocean. Isla
supplies and building equipment, Dad shaking hands with his new
site. There is no one there. We and I stay in the car while Ross
team, the grey pier and the greyer waves…
need a crane and workmen in crawls out, a raincoat draped
And, far in the distance, a misty outline.
high-viz, so this is a blow. We over him and his camera.
Skelsay.
film the crane and building
Wilderness haven. Building site. Luxury-retreat-to-be.
supplies before heading for the 15.00: The final stop is filming
And now, home.
harbour to film Portacabins. the props wash up on a beach,
including building plans. I
Shots of ‘Skelsay Skies’ folder, Prime Isles Ltd, being placed on a shelf.
9.45: Bingo! People in high-viz wade into the sea, gritting my
Sea sfx continue.
vests in the distance. I grab teeth against the cold to throw
my business cards and launch them in. When Ross is done, I
V/O: It’s only for a year – maybe two at most if there are problems
my charm offensive. Would splash out to retrieve them. I
with the construction. And it is cool, living on an uninhabited island
they mind if we filmed them from would have liked the sea a bit
for a bit, right? (Shots of nature being beautiful and non-threatening.)
behind? Could they shake hands for wilder, but that can’t be helped.
me? Would they do it again as we
V/O: Wrong! (Shot of crashing wave, looks aggressive. Dramatic sfx.)
messed up the first take? 15.45: On the way home, we
There is a cruise ship in the pull into a quiet layby to record
Frantic montage of swooping gulls, divebombing. Shrieking kids. Cracking
harbour – if we film parts of it, the audio for the voiceover. The
and splitting trees, more waves, running feet.
we can make it look like a ferry. talent is tired, but very patient,
recording crystal-clear audio,
V/O: What if nature fights back?
10.15: Now the hardest bit despite the fact that ‘living on
– angry gulls. We spot some an uninhabited island’ proves
Sliding feet on scree, falling/tumbling, fake rat between food stuff (ask
on the roof of a workshop. I a bit of a tongue twister.
museum), flying branch with wind sfx. Dropping binoculars.
have come prepared. With the
owner’s permission, we throw 16.45: Isla has slept for the
V/O: What if we’re at war with this wilderness, and no one
pieces of bread into the air and whole journey back when we
will listen? (Circular pan of the
they take the bait, shrieking deliver her to her parents.
wilderness inc. sea and sky, as if
and fluttering angrily above Ross will now edit the trailer
watching. Threatening music or
our heads. A deposit misses together, add music and sound
heartbeat?)
me by inches, but we’ve got the effects and send it back to me
shot. Time to pick up the talent. for feedback.
V/O: It’s a sort of life and death
The day’s been exhausting
thing. (Shots of everyday items
11.00: Isla joins us and we but also the most fun I’ve had in
sinking into sea including folders
journey to the West Coast. ages. It may not be Hollywood,
from earlier, floating high-viz vest,
First stop, scrambling over but for now it’ll do!
scrambling up hillside?)
scree while we film her feet as
she stumbles. The slopes of a • Find out more about Barbara at
Screen of silent seascape with
roadside reservoir will do. The www.barbarahenderson.co.uk
cover of book superimposed.
vegetation is suitably wild, so You can view the Wilderness Wars
we decide to film the chase book trailer at www.youtube.com/
V/O: Wilderness Wars.
here, too. Ross runs after our watch?v=o2Tc35EVvz8
What if nature fights back?
(Heartbeat sfx)
Writers’FORUM #204 15
 MASTER YOUR
CREATIVE
WRITING CRAFT

The Manchester
Writing School
Join our MFA/MA Creative Writing programme and one
of the UK’s largest and most successful literary centres.
• Study on campus or from anywhere in the world
via online distance learning (September or
January entry).
• Follow a specialist route in Novel, Poetry, Writing
for Children & Young Adults, or Place Writing £10k Poetry and Fiction Prizes
(Creative Non-fiction).
The Manchester Writing Competition
• Complete your own full-length manuscript with is now accepting entries for the 2018
editorial input from one of our world-leading writers. Poetry Prize and Fiction Prize. Both
prizes are open internationally and offer
• MA English Studies, short writing courses and the chance to win £10,000.
two-day Summer School also available. Find out more:
manchesterwritingcompetition.co.uk
Visit: mmu.ac.uk/english/creative-writing
Got a question – or advice for one of these readers? Email help@writers-forum.com
Need advice on writing and publishing? Novelist
and short story writer Della Galton can help
How accurate should fiction be?
Q I recently saw a character in a UK
novel, a supposed diving expert,
refer to wearing an ‘oxygen tank’. The
correct term is a dive cylinder or bottle.
Divers breathe compressed air, not
oxygen. I write short stories and strive to
get the terminology right. But a member
of our writing circle disagrees. She says
it’s only fiction so there is some leeway.
What is your view?
Lisa MacDonald, Bristol
A I’m with you. Just because it’s fiction
it doesn’t mean facts should be wrong.
Novelist David Hough, who writes
aviation thrillers, says many authors refer
to passengers disembarking on runways,
but that’s where planes take off and land.
Passengers get off on the apron.
Writers should aim to be correct, but
public perception should also be taken
into account. I don’t mean you should use
the wrong terms, but occasionally it may
be necessary to back up the right one with
a subtle explanation, through context or
perhaps via a character. Otherwise readers
may think you’ve got it wrong!
Q Are there any magazine markets left
for serials? And what are the lengths
they require?
Monica Bennet, Liskeard
A The People’s Friend wants serials
with a minimum of two instalments
(preferably three) up to a maximum
of eight, at 5000 words per instalment.
Approach in the first instance with a
synopsis of one or two pages and they will
ask for more details if they like it.
My Weekly also publishes serials but
they are not currently open to submissions
from writers who aren’t on their authors
list. But any writer can submit ideas for
pocket novels and if accepted they are
put on the author list. Pocket novels are
50,000 words in length. Submit a synopsis
and three chapters in the first instance.
Q One of my main stumbling blocks
to writing is research. The plot
of my story involves fraud, but how
can I get background information to
give credibility to the story without
sounding like I want to get involved in
a crime? There is a luxury yacht involved
and I need to know the background to
owning one. I did think about talking to
Sunseeker in Poole, but I don’t know how
best to approach them.
Phil Herbert, Porthcawl
A As you know, research is a vital
part of writing good fiction. It’s also
interesting and fun and can shape a novel
if you do it in advance. There is more than
one approach, but basically you have a
choice of researching before you begin or
researching as you go. You might even
prefer a combination, which is what I do.
Here’s how that method works:
■ Things to research in advance: this
includes anything that is vital to make the
plot work. In your story, you may need to
know the cost of your yacht, for example.
You can find this out easily – just phone
Sunseeker and ask, or look at their website.
If those models are too expensive, perhaps
your criminal could have a cheaper yacht!
With regard to the fraud, I asked Michael
O’Byrne, author of The Crime Writer’s Guide
to Police Practice and Procedure, and he
suggested you start with the Serious Fraud
Office website – www.sfo.gov.uk
■ Things that don’t need research in
advance: includes anything that isn’t vital
to the plot but can be done on a need-to-
know basis, for example technical details
on how to moor up that yacht.
Personally, if I need detailed research on
any subject, I find an ‘expert’. Passionate
enthusiasts are good as they tend to be
happy to talk about their subjects at length.
On a more general note regarding
ADVICE PAGE
writing crime, you might be interested in
looking at the Crime Writers’ Association
(www.thecwa.co.uk). There are also
several books dedicated to the subject. As
well as the Michael O’Byrne guide, I can
recommend Writing Crime Fiction: Making
Crime Pay by Janet Laurence.
One final word of warning. Try not to let
your research prevent you from starting
the actual writing. It might be a good idea
to allocate a time limit, say a month, for
research that you do before you start, but
then get cracking. Good luck.
Q There’s an adult education writing
class starting in my town. Is it worth
joining or would I be better off going on
a course run by a publisher? I want to get
published. I’m not doing it for fun.
Peter Angus, via email
A I’m a fan of adult education classes,
as this is where my own career
began. Are you aiming to be a specialist
in a certain area, ie journalism, children’s
writing etc? If so, a general course may not
be the best path.
A lot depends on the tutor. But whatever
course you decide on, consider the
following points.
■ Does the course cover your speciality?
■ Does the tutor have industry experience
and are they published in the same field?
It’s helpful if they have knowledge of how
to get published as well as how to write.
■ Is their experience current?
■ Do they have a teaching qualification?
Oh, and please do have fun!
• Della’s books on
writing, The Short
Story Writer’s
Toolshed and The
Novel Writer’s
Toolshed, are available
from Amazon
Writers’FORUM #204 17
 CHILDREN’S BOOKS

WRITING4CHILDREN
DEVELOPING IDEAS Karen Ball from Speckled Pen explains the
services that her creative consultancy can offer to authors

I
have worked in children’s
publishing as an editor and
publisher for over 25 years
(phewee!). My roles have
included head of editorial
at Working Partners and
publisher for young readers
at Little, Brown Books. In
2016 I launched publishing
consultancy Speckled Pen, and
in 2017 was named a ‘rising
star’ by The Bookseller.
In that time, I have worked
with publishers including
Oxford University Press,
Penguin Random House,
Hachette, Bloomsbury
and Parragon – and I have
consulted with many talented
authors, including debuts,
established authors and
self‑published authors.

An ideas person
My strengths are in idea
generation, brainstorming,
concept development and
editing. I love the creative
side of my field and wanted
more opportunity to use my
key skills, working with any
creative developing content.
Put simply, I wanted to
pursue my passions and, more
selfishly, explore if I could
pivot my career in my late
40s. Gotta love a woman with
energy and ambition!
I offer a range of services
from brainstorming first ideas,
through to series development
and storylines, developmental
editing or line editing. If you
need a creative partner, I’m
your woman. I love the variety
of my working week.

Plugged in
I also regularly attend
international book fairs and
network in the publishing
community, so I feel that I

18 Writers’FORUM #204
PICTURE BOOKS STORY BOOKS EASY READERS CHAPTER BOOKS MIDDLE GRADE YOUNG ADULT
EASY READERS CHAPTER BOOKS MIDDLE GRADE YOUNG ADULT PICTURE BOOKS STORY BOOKS
with
children’s author
Anita Loughrey
offer bang-up-to-date insights
into the industry. I’m also a
founding organiser of the
Book Bound writers’ retreat.
Brainstorming
I always ask that the author
has at least an A4 side of
material from which to
brainstorm – that way, we can
all feel confident that what
we’re brainstorming is your
idea. If my imagination is fired
up and I can see commercial
potential, we can brainstorm
with no more than that.
Other times, we may engage
around a highly developed
concept that would benefit
from expert editorial and
industry insight.
Brainstorms work according
to the client’s needs. We can
have a Post-it note brainstorm,
a group brainstorm with other
creatives attending, a Skype
brainstorm… If you are willing
to engage, we’ll find the format
that works for you.
I ask that brainstorms never
last for more than 60 minutes
(brains quickly get tired) and
I always supply follow-up
notes and conversations.
From there, the author can
take the idea and run with it
or we can continue to work
collaboratively.
People can email me at
karen@speckledpen.com and
we’ll chat about their ideas
and existing material and my
availability and fees. I have an
author flyer that provides a
broad format for engagement,
but usually we agree a bespoke
arrangement.
Voice
In my opinion what makes
a children’s book special is
voice. I’ll give you two good
examples of this from my
own experience.
Back in 2013, when I first
read the opening chapters
of Alex Wheatle’s Liccle Bit
– his first YA novel, which
I commissioned and which
went on to be longlisted for
the Carnegie – I was sat on a
packed commuter train into
London, feeling very stressed
and anxious. But the narrative
voice made me grin like a loon!
I thought, if this person can
make me smile on a packed
commuter train, we have
something here. I walked
into the office, turned on my
computer and immediately
emailed my boss at the time: I
want to commission this author.
The second example
happened more recently. An
author approached me who has
never been published and has
no experience of the publishing
industry. She comes from a
background where she may
never have been encouraged to
write a novel but write a novel
she has.
The book is a rough diamond
and needs a rigorous rewrite,
Left, a good example of ‘voice’. Above, the consultancy’s website
but I read that voice and
thought, yes, I really want to
work with you.
Now, this may make authors
worry. What if I don’t have
voice? How do I know what
voice is?
But this is where the magic
starts. You already have it –
you can’t learn it, it’s in your
bones.
This is why it’s so important
not to try to emulate what
others have written. Just be
YOU. Honestly, copy out those
three words on to a Post-it note
and place it above your desk.
Just being you is the best thing
an author – or human being! –
can be.
One writing tip
Only one? I’m definitely going
to fail at that. OK, let me
pull on my thinking cap for
a moment. If I’ve just talked
about the instinct of voice, let’s
focus on the craft.
Less is more. I regularly
come across books that open
in the wrong place. You want
to get to the heart of the action,
particularly for children who
devour plot. Do you need all
that set-up? What about if
you cut those first couple of
paragraphs or – shock horror! –
that first chapter?
Other craft details: don’t
over-explain, cut out as many
adverbs and adjectives as you
think you can afford to lose,
don’t use over-complicated
speech tags. And make sure
that by the end of the story,
your main character has
changed in some way. We’re
all on a journey, especially
your main character.
I hope that anyone who has
worked with me will attest
to the fact that my approach
is friendly, collaborative
and encouraging. I shan’t
mollycoddle you – a good
editor never avoids difficult
truths – but I shall always
support you. Publishing can
look scary when your nose
is pressed up against the
window, but it really isn’t.
• Find out more about Karen and
Speckled Pen at www.speckledpen.
com or, if you also like sewing, at
@didyoumakethat on Instagram!
Writers’FORUM #204 19
 FREELANCE MARKETS

THE MAGAZINE SCENE

Adam Carpenter gives a round-up of launches, trends and other magazine news

MOR NOT REQUIRED AT THE WIRE

Music mag The Wire has published 400 issues since 1982 but most
people would struggle to spot a familiar face among the coverstars.

■ This is not a place for the mainstream, no matter how minor that
mainstream may seem. So, Shabaka Hutchings rather than Shakira,
Finland’s spandex-clad hypno-rockers Circle rather than Coldplay. The
Wire celebrates the most radical and undervalued musicians on the
planet, past and present, encompassing ‘avant rock, electronica, hip-
hop, new jazz, modern composition, traditional music and beyond’.
■ If you chance upon a style of music or musical act from a particular
town or city on your travels, The Wire covers international music in
its main features and in a regular column. The guidelines say: ‘We are
always interested in submissions to our regular Global Ear section, a
monthly report from a different town or city anywhere in the world.’
■ The team are keen to hear from new writers. If you are interested
in becoming a freelance contributor, email Derek Walmsley at

Kimmo Metsaranta
derek@thewire.co.uk, outlining any particular areas of interest and
xxx
suggesting a few feature/review ideas. And don’t forget to enclose
examples of your writing, whether published or unpublished.
Finnish hypno-rockers
Circle fit The Wire’s bill
Recent coverlines: Music and mental health; Cairo’s new wave;
Ceramic Hobs – out of their minds

Visit: www.thewire.co.uk
SLATE LIKES A GOOD ARGUMENT
Slate is an online magazine offering analysis and commentary on
politics, news, business, technology and culture. There are many
sections to target and they are always looking for new contributors.
■ The main thing to consider when pitching is to have a strong
argument. Slate is known for smart, witty and persuasive articles, so
use your pitch to express your argument, with clear main points that
support your view and counter the opinions of others. This will help
you frame your pitch, and the piece as well. The News and Politics
section, Technology section and Business section are the best places
to get an argument going. For more lighthearted content, check out
the sections on Culture and Human Interest.
■ Reports and dispatches are also welcome and you should pitch
them in a similar way to arguments. Say which insights your report
will help to uncover. The team are looking for ways they can influence
change. Straightforward reports will be rejected.
■ Read the site thoroughly to find the right section and check your
idea hasn’t been done. It’s also worth Googling your idea as the team
reject anything they feel people will have seen before. Don’t send the
same idea to another Slate editor if one rejects it as the team work
closely together and make decisions collectively.
Visit: www.slate.com
MARKET NEWS
It hasn’t been the best start to 2018 for the majority of
women’s magazines, according to the latest circulation figures.
Of all the women’s magazines, only Hello showed any significant
increase, although Harper’s Bazaar and Red returned respectable
scores. No such luck for Now magazine, whose plummet to 50k
means they now sit at the bottom of the women’s weeklies. The
once-mighty Woman and Woman’s Own both suffered declines of
24 per cent, whilst Bella managed a three per cent increase.
Meanwhile, among the news mags, The Week Junior, The Economist
and Monocle posted encouraging increases whilst The Spectator and
The Times Literary Supplement continued last year’s growth.
Do you ever suffer from ‘imposter syndrome’ where you feel
you shouldn’t really be pitching to magazines and newspapers
as you don’t fit in? Well, take heart in a column by Spectator editor
Fraser Nelson. When looking for interns, the magazine shuns the
CV and interview process in favour of assessing each candidate on
their aptitude to write a blog or conduct research, regardless of
their background. He said: ‘We rejected CVs so that we can hire
people from a deeper pool of talent, not out of a sense of
do-gooding. No one, ever, is hired as an act of charity or social
outreach. Journalism is about reflecting and reporting on the wider
world, so it makes sense to avoid going for the same sort of person
with the same sort of background.’ Apply that thought to yourself.

20 Writers’FORUM #204

INSIDE VIEW
WESTJET magazine
This is the inflight
publication for
the Canadian
airline WestJet
and features
well-crafted,
informative stories
designed to inspire
and enrich the
travel experience.
They are always
keen to receive
ideas from new
contributors. Here
are some pointers.
Have the right
destination in mind
First, check where WestJet fly to and make sure you pick a
relevant destination, obvious as it sounds. The locations are
quite varied and include European countries so there should
be plenty of choice. Recent issues have featured Scotland and
Ireland prominently. Don’t go for the usual tourist spots. Editor
Dean Lisk says: ‘We are seeking stories that are off the beaten
path, that examine social trends impacting travel, that are about
unusual or quirky little gems not found anywhere else and that
answer the question, why this destination now?’
Shape the idea to fit a slot
Study the magazine carefully – there are a variety of sections,
each with different formats, so pitch your idea to fit. Seek
presents snapshot information of what to see, where to stay
and what to buy at specific destinations. Roam focuses more
on insider tips and advice with Q&As, then there’s Food, which
shines a light on the locations that are worth visiting for the
food alone. Finally the Features section allows more space for
exploring a cultural aspect about a certain location or round-
ups covering different destinations under one theme.
Declare any commerical interest
You must declare whether your idea has been used elsewhere
and if you received any complementary flight, accommodation
or meal as part of a press trip. Also bear in mind the long lead
time of six months – start thinking about ideas for summer 2019
now! Dean adds: ‘No phone calls or follow-up queries, please.
We ask that you limit your pitches to two per email. If you have
not within a month, feel free to submit your query elsewhere.’
Recent coverlines: Music City – we discover Nashville’s
creative side; A journey in time – discovering Ireland’s eternal Aran
Islands; The Highland Way – why you need to experience Scotland’s
best road trip
Visit: www.westjetmagazine.com
THIS WRITING LIFE
WAITING AND HOPING
O
ne of the reasons I prefer phone interviews to face-to-
face ones is that you lose far less time when things go
wrong. As they often do. If you get a call five minutes
before a phoner to say, ‘We’re running late, can we do this in
an hour?’ or ‘Can we reschedule for tomorrow?’ or the person
simply doesn’t answer, or is on voicemail when you call… well,
at least you’re sitting comfortably at home and can get on with
something else. If the same things happen while you’re waiting
in a hotel lobby, you’re just hanging around kicking your heels.
In the worst-case scenario, you may have wasted half a day
travelling there and back with no result.
Also, the arrangements for face-to-face interviews tend to be
far looser. There’s often an unsaid assumption that because
you’re there on the spot you won’t mind hanging around to fit
in with whatever else is going on. So whereas a phone interview
with a singer may be scheduled for, say, 4pm, a face to face may
be arranged for ‘after the soundcheck’. The soundcheck may be
scheduled for ‘around 5pm’ and actually start at 5.30, with no
telling whether it will last 15 minutes or an hour.
These days, to avoid all the hassle, I use the phone 99 per cent of
the time, but this month agreed to a face to face with an American
vocal group because I was already going along to review the
festival where they were appearing. The arrangement was that
they’d come in to rehearse at 3pm and sit down with me after that.
At 3.30, though, the rehearsal room was still empty and when
I tracked down the promoter to ask if the rehearsal was still on, he
went into a panic because he didn’t know where the group was.
For the rest of the afternoon I checked back at the rehearsal
room every half-hour between watching the events on stage,
but there was no sign of my interviewees. At 7pm I’d written the
interview off. But I guess there are times when fortune favours
the persistent, because I just happened to be hanging around near
the festival entrance when a taxi pulled up and deposited three
cool-looking dudes right next to me.
With no one to greet them, they didn’t look like they had a clue
where to go. So I asked them if they were the group I was there to
interview. When they said they were, I said: ‘Great, follow me!’
I led them to the empty rehearsal room and got my interview
before they went on stage – unrehearsed.
Writers’FORUM #204 21
 FICTION MARKET
INSIDESTORY
Every cloud has a silver lining, Douglas McPherson found,
when his rejected story was bought by In The Moment
R
ejection is part of a
writer’s life, and not
just a new writer’s life.
It’s not as if you start
off with rejections, progress
to acceptances and never get
rejected again. Even when you
sell regularly, rejections come
along with the unwelcome
regularity of utility bills.
If you’re not getting rejected,
it’s because you’re not sending
enough stuff out, or not trying
enough new things.
The good news is that it’s
seldom a definitive comment
on your work. A story that isn’t
right for a particular editor
at a particular time may be
just what another magazine
is looking for. That was the
case with my story Castles in
the Sky, which was rejected by
the first mag I sent it to, and
then bought by not one but two
other publications.
The idea came from a
fleeting mention of the Cloud
Appreciation Society in a
newspaper column I was
reading. The piece wasn’t even
about the society, it was just
a throwaway reference, but it
intrigued me enough to Google
the cloud watchers’ website
and find out what it was about.
Ten minutes later, I’d decided
that cloud-spotting would
make an interesting feature,
so I pitched People’s Friend
the idea of interviewing the
society’s founder, former Idler
editor Gavin Pretor-Pinney.
You never know when
an idea will chime with an
editor’s previously undisclosed
interest in a subject, and the
features ed came back with:
‘Yes please. Don’t tell him I have
a copy of his book that I haven’t
read yet!’ I duly contacted
22 Writers’FORUM #204
They felt the heroine was too
estranged from her responsibilities
as a wife and mother…
Pretor-Pinney via his website
and was soon chatting on
the phone to him about his
enthusiasm for fluffy white
and grey things.
One of the things I enjoy
about interviewing experts is
that they can make any subject
fascinating, surprising you
with insights into corners of a
topic that you may never have
dreamed existed.
As a result, I came away not
only thinking that I’d have a
good feature but that clouds
would make a good subject
for a short story, too. In fact,
Pretor-Pinney had so fired
my imagination that I started
writing the short story first.
Theme
Many shorts focus on a brief
period of time, a moment of
change in a character’s life,
starting with a problem that
they solve by the end. It’s
possible, however, to set a
story over the full span of a
character’s life, as long as you
keep the theme consistent.
For example, I wrote a
People’s Friend story called Full
Steam Ahead about a female
train driver. The narrative
ticked off all the usual
landmarks in a life but each
scene had a backdrop of trains.
In childhood we saw the
main character playing with
a train set and riding on the
footplate with her train driver
dad. She embarked on a career
driving diesel locos. She met
her husband, a guard, through
her work. They married on
a preserved steam railway.
Even giving birth came with a
railway gag:
My first son arrived as late as
a baby can be.
‘He’s obviously going to be a
train driver,’ I joked.
The procession of railwayana
gave the piece the tightly
focused feel of a short story
about trains, whereas more
random images from a person’s
life might have come over like
a rushed synopsis for a novel.
I decided I could do the same
kind of thing about a woman
obsessed with clouds.
Starting point
Pretor-Pinney traced his
fascination with clouds to
watching them from the back
seat of his mother’s car as she
drove him to school. I decided
my heroine could discover
them even earlier, as a baby
looking up from a pram:
I notice that the clouds aren’t
flat. They’re fat like pillows and
frayed like cotton wool. I watch
them drifting gracefully, changing
shape and dividing. I think they’re
the most beautiful things I’ve
ever seen.
From there we cut to a
classroom scene where
Hannah gets in trouble for
gazing out of the window
instead of focusing on the
lesson, and a scene from
her working life where her
cloud-gazing is equated with
idleness.
Even her relationship with
her fiance is strained by her
tendency to drift off to the sky:
‘Have you heard a word I’ve
been saying?’ Tom snaps.
‘What?’
‘Don’t you ever take your head
out of the clouds?’
The general theme was
that cloud-watching wasn’t
making her popular. I gave her
an intelligent voice, however,
and even in her schooldays
hinted that whatever her peers
thought, she considered her
hobby to be far from a waste
of time:
I think of stormy paintings by
Turner, his skies as turbulent
as the crashing waves. I picture
Constable’s pastoral scenes, with
every shadow and highlight caused
by the shifting skyscape that takes
up half the canvas.
I bet those guys spent ages with
their head in the clouds.
Later in the story, the sight
of clouds crossing the moon
inspires her to write a romance
novel about werewolves, which
marks her emergence as an
author. When her mother dies,
she finds solace in the timeless
nature of the sky.
By the end, when Hannah
has reached her eighties,
it’s revealed that all of her
werewolf books have been
outsold by her most regarded
work: Head in the Clouds – The
Healing Power of Relaxation.
Even her marriage turns
around as the stressed husband
she was too distracted to
support retires and becomes
the contented supportive
partner in her writing career.
Essentially, it was an ugly
duckling story. The cloud
obsession that had initially
seen her cast out as a work-shy
dreamer had eventually made
her successful.
That transition fulfilled
one of the basic requirements
of what makes a short story,
which is that a problem is
solved during the course of the
narrative. At the start of the
story she was misunderstood
– that was the problem. By the
end she’s found her place in
the world – that’s the solution.
Literary touches
I felt the first person voice
and continual descriptions of
drifting clouds and changing
skies gave the story a poetic,
dream-like quality that fitted
the subject matter.
I also thought it had a more
‘literary’ feel than my usual
magazine fiction, thanks
to a sprinkling of academic
references that I’d picked up
during my interview with
Pretor-Pinney:
Aristophanes called clouds the
patron goddesses of idle men…
Cirrus. The name means ‘curl
of hair’. The teased-out strands
are made of ice and caused by
violently rushing winds in the
troposphere, but you’d never know
that by looking at them…
Have you ever seen a Kelvin-
Helmholtz wave cloud? It looks
like a child’s drawing of the sea: a
row of breaking waves seen side
on, each curling over in the same
direction. If you saw a picture
of one, you’d probably think it
was the Penny Black of clouds –
something only the most dedicated
collectors would ever find.
I was initially reluctant to
send the story to People’s Friend
because I didn’t want it to clash
with my Cloud Appreciation
Society article, which would
naturally cover some similar
ground. So I sent it to another
mag that generally buys my
work and was miffed when it
met with rejection.
Although they liked the
cloud images – to the point
where the editor confessed to
looking up one of those elusive
Kelvin-Helmholtz wave clouds
online – they felt the heroine
was too estranged from her
day-to-day responsibilities as
a wife and mother.
In other words, she spent too
much time with her head in
the clouds!
Well, that was kind of the
point, but the editor’s decision,
as they say, is final and there
was no sense in arguing.
By that time, however, quite
a few months had elapsed
since my Pretor-Pinney
interview had appeared in
People’s Friend and, if they liked
my story, several more would
pass before it was printed, so
I submitted it to them.
Happily, Shirley Blair
replied with an effusive: ‘We
love, love, love Looking Up [as it
was originally titled]. What an
unusual and mesmerising story.’
Which just goes to show how
differently two fiction editors
can see the same tale.
In fact, just to inflate my
head with a little more helium,
she later told me: ‘We had our
routine Monday morning dummy
chat this morning, and the team
quite spontaneously said how
much they’d loved Looking Up!’
It turns out they weren’t
the only ones, because after it
was published I interviewed
the editor of recently launched
mindfulness magazine In The
Moment for Writers’ Forum
(issue #195). The mag was of
interest because they run a
short story each week and
accept previously published
fiction.
I thought my cloud story
might fit their remit for
relaxing reading. I zipped it
over to them, and when they
bought it, I was on Cloud Nine!
How to Write and
Sell Fiction to
Magazines by
Douglas McPherson
is available to
download from the
Kindle store.
Writers’FORUM #204 23
 WRITING EXERCISE
SETTING in
the SHORT STORY
Barbara Dynes explains why even the shortest story
needs a sense of place – and sets an exercise
N
ovels are easier
to write than
short stories,
say experienced
authors. And whilst no writing
is exactly ‘easy’, you can
understand what they mean.
The short story writer
has to get across conflict,
character, dialogue, tension and
everything else, all within a
certain word limit. Quite a task!
Although a novel storyline also
needs to be strictly controlled,
the novelist has many more
words at his disposal and much
more space to express himself.
When it comes to setting,
24 Writers’FORUM #204
short story writers have to
be really brief. Yet placing
your characters somewhere is
vital. Never get into the habit
of regarding setting as an
afterthought because it can add
so much to the story.
The actual plot – the conflict
and action – are, of course, the
crux of it, but readers need to
be able to picture those events.
They cannot do that if the
background is blank.
Yet it is easy to get so
involved with the storyline
– especially at the start of the
story – that you neglect to place
your characters anywhere.
Take this example of an
opening:
‘There’s no way I’m staying
even one night at your mother’s,’
Jane said, glaring at Darren. ‘I
can’t stand her nitpicking!’ Jane
scraped back her chair and stood
up. ‘You go, by all means!’
Darren leaned forward. ‘Right,
I’ll take the kids –’
‘That you won’t!’ About to make
a dramatic exit, Jane stopped,
aware of other diners staring. But
she didn’t care…
The setting comes in far too
late in that piece. By then, the
reader will probably assume
the couple are arguing in their
kitchen. For clarity, we need
to know earlier that they are in
a public place, but also because
it will give the beginning a
completely different tone and
add extra tension.
Better like this:
‘There’s no way I’m staying
even one night at your mother’s,’
Jane said, glaring at Darren. ‘I
just can’t stand her nitpicking!’
Jane scraped back her chair and
stood up. A scene in the middle
of such a posh restaurant was not
really on, but too bad. ‘You go, by
all means!’ she added.
Darren, embarrassed, leaned
forward. ‘Right, I’ll take the kids,’
he said quietly.
‘That you won’t!’ About to make
a dramatic exit, Jane stopped,
aware of other diners staring. But
she didn’t care…
You do, of course, have to
be economical with words.
There is a lot to think about
at the start of a short story
– hooking the reader is the
main objective. Yet some
background, however brief, is
essential. As author Elizabeth
Bowen said: ‘Nothing happens
nowhere.’
Setting and senses
The best way to learn about
setting is to study the way
the ‘greats’ do it. First, the
beginning of And No Birds Sing
from HE Bates’ book of short
stories, The Fabulous Mrs V:
It wasn’t only being alone; it
was the way the house smelt dead.
She sat under a big sweet-
chestnut tree, in the heart of the

woodland, watching Mr Thompson
with grave brown eyes. Mr
Thompson was frying mushrooms
over a hazel fire in an old half-
circular billy-can. The peculiar
aroma of hazel smoke and the tang
of mushrooms was so strong on
the October evening air that every
now and then she licked her lips
like someone in a hungry dream.
That first line tells us a lot
about this young girl: she
doesn’t want to go home to an
empty house; she is hanging
out in the woods with this
Mr Thompson, who is possibly
a tramp. As the story progresses
we learn more about her (Bates
doesn’t give her a name) and
Mr Thompson. But the setting –
the woods, the fire, the cooking
– is so real, along with the two
characters, that we feel you are
there with them.
The senses, always at the
forefront of HE Bates’ work, are
brilliantly expressed; we can
almost smell those mushrooms
frying, taste the delicious
wildness of them, feel the heat
of the fire. We also, alas, smell
the girl’s house, ‘where she
belongs’, as Mr Thompson
declares, at the end of this
poignant story.
Setting and character
Now let’s look at the opening
of Life of Ma Parker by Katherine
Mansfield, from her collection
The Garden Party and other
stories:
When the literary gentleman,
whose flat old Ma Parker cleaned
every Tuesday, opened the door to
her that morning, he asked after
her grandson. Ma Parker stood on
the doormat inside the dark little
hall, and she stretched out her
hand to help her gentleman shut
the door before she replied. ‘We
buried ‘im yesterday, sir,’ she said
quietly.
A completely different style
of writing, and a different era,
but again straight into the gist
of the plot – with a setting
so ordinary yet so vital as a
background to this tragic tale.
While HE Bates portrays
his story mainly through
Writers’FORUM
the senses, so Mansfield’s
contrast of these two characters
is masterly. Ma Parker, in
spite of how she is feeling,
EXERCISE
automatically helps ‘her
gentleman’ shut the door. Her
employer has said nothing yet,
Set and match…
A
but we feel we already know
Select one of the following couples. They
both characters. The setting
plays a big part here.
are strangers, meeting for the first time.
Charles Dickens, too, added Where are they? Place them somewhere –
to characterisation with if possible, somewhere unusual.
the settings he used. Miss ■ A grandmother and a streetwise young girl
Havisham in Great Expectations
is one example. The cobwebs, ■ A young office worker and a supermarket manager
the dresses and the ancient ■ A librarian and an angry councillor
wedding cake all help to give
■ A sportsman/woman and a disabled child
us a picture of the woman.
Now write the opening of a short story, featuring their
Real vs fictional setting meeting and your setting. You’ll need conflict to hook the
Sometimes an actual place reader. What has brought the pair together in this setting?
can give you an idea for a
story. You visit a stately home,
garden, museum or tattoo Notes
parlour and develop a plot
around it. This can work well,
especially if it is somewhere
a bit different. Magazine
editors, for instance, welcome
unusual settings, though
you still need to keep to their
familiar short story format.
Is it a good idea to use a
real place? Although readers
do like to identify an existing
area, unless you know the
actual building, station, park
or whatever very well, it’s
/ / /
probably better to create a Completed My scene rating
fictional setting.
B
If you use Waterloo Station,
for instance, make sure your Think of a place – perhaps a house,
research is bang up to date – building, park or an area you know very
places change so quickly. well. Work out a short story plot around
Try to use familiar that setting. How much extra research
expressions and places to
will you need to do to ensure your setting
denote sizes. The back yard was
around the size of tennis court
is accurate?
is better than specifying the
actual size in metres. Readers Notes
can more easily envisage a
tennis court.
Before you start a short story,
give your setting the attention
it deserves. It will pay off!
Barbara Dynes’ latest
book, Masterclasses
in Creative Writing,
is published by
Constable & Robinson
/ / /
at £9.99 Completed My scene rating
 Essential Books for Writers
NEW By Alison Baverstock
Marketing Your Book:
An Author’s Guide
How to target agents,
publishers and readers
‘A rich source of information
for people trying to navigate
their way through the
process of how to get
their book noticed.’ ‘‘Cornerstones paired me with a fantastic editor who helped me to turn my raw draft into
a submittable one. We worked on characters, storyline, and the essential suspense and
Rebecca Swift,
goosebump readability. Helen then passed me through to my hands-on agent. We did further
The Literary Consultancy
revisions and one year on, I have a dream two-book deal with Headline!”’
Emily Gunnis, The Girl in the Letter, Headline

Structural editing, copy-editing and proofreading services.

2nd edition • £11.99 • 9-780713-673838 Scouts for literary agents

Is There a Book in You?

Foreword by columnist and +44 (0) 1308 897374
writer Katharine Whitehorn Visit www.cornerstones.co.uk
£8.99 • 9-780713-679328

Listed by the Society of Authors

Available from bookshops or to order direct
call 01256 302699 or visit: www.acblack.com

BECOMING A WRITER
Kath Kilburn on why you should think about BUILDING YOUR BRAND
W
e’ll start with
just one word:
Adele. Those
album titles,
you see what she did there?
She started as she meant to go
on. First album was 19, then
21, then 25 – her ages when
she started recording each one.
And the result is a lovely little
pattern of consistency and
brand management.
And like Adele, you should
start as you mean to go on,
right from the beginning of
your career.
Do I really have to?
What’s the point of branding
for writers? Can’t you just flit
between styles? Of course,
you can. But creating a
strong author brand through
consistent style and formatting
makes your work recognisable,
so the reader knows broadly
what’s in store when they take
your book to the cashdesk.
Putting it simply, every tin
of Heinz soup has the same
design so that the buyer knows
instantly it’s soup by Heinz.
It’s a soup-related guarantee.
So, if all your writing and
promotional materials are
presented the same way, the
reader sees at a glance that
you wrote it and that it’ll be
great quality.
Designing your brand
Start by thinking about the
image you want to convey –
if you write romance that’s
probably not your name
in a Gothic font dripping
blood (unless it’s very niche
romance…)
Choose appropriately.
What’s your message? Think
about how publishers do it.
Mills & Boon have different
lines for different styles of
story, regulating the amount
of sauciness and the character
types in each one.
One-woman brand
Marian Keyes
In non-fiction, there are
series such as …for Dummies,
which tell you instantly what
they’re offering. These make
the reader’s choice as quick
and easy as possible.
If you can, extend your
public image across social
media – Facebook, Twitter,
newsletters, blog posts and
website. Colours, banner,
graphics, writing style, types
of photograph – replicate
them if you can.
If you write more than one
genre, consider using different
pen-names for each, to avoid
discombobulation when
lovers of your Aga sagas find
a psychological thriller on
their bedside table.
Or style your author name
as Esmerelda Oldhand writing as
Joseph Newbie. That way you
have two distinct, but linked,
public personas.
Covers
Despite the old saying, people
judge books by their covers
every day, so make sure yours
is right, not just for the subject
or genre but also for the tone.
For example, light and
humorous Bill Bryson’s travel
books use a cheerful mix of
bold, colourful fonts and
cartoony graphics. ‘Richly
written’ Jan Morris’s travel
Iain Philpott
books have restrained text and
photography. Both excellent,
but satisfying different travel
information needs.
Be your brand
The people I think branding
works best for are those like
the lovely Marian Keyes who
practically is her own brand,
as anyone who reads her posts
and tweets can verify.
All breathless, excitable
Irish chattiness, with a hint
of something more serious
underneath, Marian Keyes
includes her own family in her
newsletters in the same way
that she explores the families
she’s created in her fiction. You
guess that her books will be
warm and enjoyable, because
that’s how she sounds.
It works for non-fiction too.
When you learn that Annabel
Karmel’s meals-for-children
books were inspired by issues
feeding her own fussy toddler
– well, you feel like she’s been
there with you in all your ‘Here
comes the aeroplane’ moments.
Another cookery writer,
Miriam Sorrell (I have no idea
what’s with all these food
references, although I am
a little peckish) offers free,
delicious recipes on Facebook
and explains this one was
her mum’s, and her daughter
THE BUSINESS
loves this other, and generally
interacts and sounds lovely. I
bought her vegan cookbook on
the back of a few free recipes
and also because she seems
very, very nice.
Please note: this doesn’t
work if you’re writing about
serial killers. Well, any murders
really. There’s only so far
you can go in the personal
experience direction.
Give it a go
How do you feel about being
a brand? It doesn’t sit well
with me, but I still manage
it to some extent. Of my two
non-fiction ebooks, one is about
opening our shop – the cover
is the shop’s open sign – while
the other is about closing it – the
cover is the shop’s closed sign.
Not matching, but mirroring.
They have similar titles, they’re
both fun reads, both tell it like
it is. And they both reflect how
I write naturally.
You can decide on a brand
and market this public image
as one of your professional
tasks, or you can allow your
public image to simply reflect
who you already are. Either
way can work.
Despite what I’ve said,
you can only take branding
so far. You won’t have control
over all aspects of your output
and presentation. But so long
as you have some degree of
consistency and recognisability
in your marketing, you’ll be
on the right track.
As a beginner writer, start
thinking about this stuff
now, because when success
comes a-knocking, you’ll
be far too busy with all the
other promotional stuff (the
Newsnight appearance, the
Guardian interview, opening
the village fete…) to
concentrate on developing
an image. Plan for success by
doing it now.
Writers’FORUM #204 27
 SHORT SHORT WRITING
Writers’FORUM
FLASH COMP RESULTS
The task was to write a story explaining why the chicken crossed the road
£100 winner
Flying the Coop by Kevin Cheeseman
C
ohen flashed his badge and the cop lifted the incident
tape to allow him through. He walked down to the jetty,
buttoning his coat against the wind whipping across the
water. Under a dim sodium light, a couple of uniforms stood over
a body lying face down in a puddle on the otherwise dry boards.
His partner, Robinson, was crouched down next to it, a torch in
her hand.
‘What have we got?’ said Cohen.
Robinson answered without looking up. ‘Couple of fishermen
hauled him out. Caucasian, mid-forties. Cable ties round his
wrists. Bullet to the back of the head.’
‘I guess we can rule out suicide,’ said Cohen. The uniformed
cops snickered.
Robinson rolled her eyes, flipped the corpse over and went
through his pockets. She fished out a sodden wallet and found a
driving licence.
‘Ilyas… something.’
‘Khasbulatov,’ said Cohen. ‘Commonly known as The Chechen.
One of Torode’s guys.’
‘Drug gang killing,’ he said, yawning. ‘Bag him up. I’m going
back to bed.’
The next morning, Cohen arrived to find Robinson already
hard at work. She ambushed him at the coffee machine, notebook
in hand.
‘You were right about Khasubal… the Chechen guy,’ said
Robinson. ‘He came over in ‘96, allegedly fleeing the fighting in
Chechnya. Seems he had skills that Torode found useful.’
‘Like how to handle a gun?’
‘Must have been more than that,’ said Robinson. ‘Under
Torode’s patronage, he rose up the ranks pretty quickly.’
‘So, it was one of Torode’s enemies who whacked him.’
‘Maybe,’ said Robinson, ‘but apparently he’d fallen out big time
with Torode’s new son-in-law, Luc Verlaine.’
‘Verlaine had a beef with with The Chechen?’ said Cohen,
stirring his coffee.
‘That’s not all,’ continued Robinson, trailing Cohen to his
desk. ‘My snitch also tells me that the Chechen had been secretly
meeting with Torode’s main competitor in the local heroin
business.’
‘Dan Hatton? Very interesting.’
‘Who should we talk to first?’ said Robinson.
‘As the man sang,’ said Cohen, ‘first we take Dan Hatton, then
we take Verlaine.’
‘Spare me, Cohen, please,’ sighed Robinson, picking up the car
keys.
‘Sure, I met with Khasbulatov,’ said Hatton. He leaned back in
his chair, cigar in hand. ‘His import–export experience, and the
inside information he offered, would have been very useful. And
he was keen to further his career in my organisation.’
‘Keen?’ said Cohen.
28 Writers’FORUM #204
‘Desperate, actually,’ said Hatton. ‘When Torode brought his
pushy son-in-law into the business, Khasbulatov knew his time
was up. Verlaine’s a snake. A poisonous one.’
Hatton rose to indicate that the meeting was over. ‘Listen – I
wanted to hire Khasbulatov, not kill him. But if Verlaine found out
he’d been talking to me…’
‘Boom,’ said Cohen. ‘Kentucky Fried Chechen.’
They thanked Hatton and headed off to find Verlaine.
‘Hatton’s story sounds plausible to me,’ said Robinson, starting
the car.
‘I agree,’ said Cohen, ‘Moreover, it answers one of life’s eternal
questions.’
‘What’s that?’
Cohen cleared his throat. ‘Why did The Chechen cross Torode?’
‘Oh no…’ said Robinson.
‘Oh yes,’ retorted a smiling Cohen. ‘To get to the other side.’
• It’s the second win this year for Kevin, from Haddenham, Bucks, who
says: ‘The ghost of a famous Canadian singer told me to do this as a crime
spoof and to mention his name. I was too frightened to argue.’
Editor’s comments
Kevin’s take on last month’s task made me laugh and groan in several
places. As requested, his story ended up a long way from the original
chicken joke, but he also used it as an effective punchline.
Quite a few entrants had fun with the idea. Owen Townend had a
farm chicken take against a visitor, the Irish author Cormac McCarthy.
The hen learns to read and eventually takes up a career as a literary
critic just to get at the author – by dissing his book The Road.
Nick Hargreaves’ entry was about Rooster McQuarry, a country and
western singer. Nick invented some brilliant country song titles, such
as If it’s You or the Beer, Then Mine’s a Cold One and I’m Still Missing You,
So I Better Learn to Shoot Straight. Rooster stops being ‘middle of the
road’ to get dumped by his music company to he can move to a rival.
One of the rules was to avoid writing a children’s story, so quite a
few entries about talking farmyard animals didn’t make the cut. Other
problems included making rather too many chicken-related puns but
not bothering with a story, and simply telling a longer version of the
joke rather than taking the idea and running with it. The runner-up
story Flight, by Jennifer Bickley, on the other hand, told a grown-up tale
that made poignant use of the elements.
Runner-up
Flight by Jennifer Bickley
C
hickens can’t fly, you know,’ says Michael, as we join the
small crowd. Peter kicks his shins to shut him up, and
the two of them try to start a fight, but the older boys
surrounding us glare at them until they stop and stand straight
and quiet.
‘I think he’ll fly,’ I whisper to Karl. I’ve known the Chicken for
years, since long before anyone called him that. He was a friend
of my parents, and it was through his stories that I constructed an

image of the father I never knew. The locals call him mad, but my
mother cherishes his friendship.
‘He’s just a little eccentric,’ she always says, ‘and we need
eccentric people in the world. They brighten things up.’
Mum doesn’t know about his plans, though. If she did, maybe
she would have stopped me from coming to watch. She knows
he’s been working on some odd things, and she knows the
townsfolk, who always called him names, call him ‘the Chicken’
now after Erika said she saw him running around a field with
huge wooden wings strapped to his arms, but Mum didn’t believe
the gossip.
The Chicken enlisted us local kids to help him forage for
supplies, and in return he told us a little of his plans. If the test
works today, he will be going to the crossing to try for real. He
needs to find a high enough point there to take off from; here, he
has chosen the half-crumbled old bell tower, and as we crane our
necks towards it, he appears at the top.
The wooden wings that Erika told all the adults about are not
really wings, now that we see them; they stretch across his arms,
but they go further, and the scraps of old parachute and canvas
we helped him find are sewn together and stretched taut between
various parts of the contraption. He looks more like the webbed
foot of a chicken than a chicken itself. He stands tall and strangely
elegant, despite the crude machine strapped to him, and not a
single breath can be heard among our audience. The Chicken
looks upwards, as if in prayer, then launches himself forwards.
Amazingly, he flies. It’s more of a glide than anything, and
it’s faltering, but the Chicken built aeroplanes during the war
with my father, and he knows the science of flight, even from the
primitive supplies available to him now. The boys around me
cheer, and I join them, whoops of joy and encouragement that will
no doubt attract the attention of any adults nearby, but watching
him go over our heads like a modern-day Icarus gives us all hope.
Three days later, Neues Deutschland reports that an attempted
defector in a rudimentary flying device was shot attempting
to cross the border, but they name no names, and we all hope
against hope that it wasn’t the Chicken, and that he managed to
get to the other side.
• Jennifer, from Shrewsbury, says: ‘I teach my pupils about some of the
more eccentric ways people tried to cross the Berlin Wall. They are often
shocked that such attempts cost some of those escapees their lives.’
Highly commended
Hitting Back by Lynda Casserly – Banty, an Ulster policeman who used
to fight at bantam weight, blows an undercover operation by crossing
the road in order to intimidate the terrorist they’ve been watching.
The Girl in the Mirror by Alison Wilkings – a Gothic horror about a
girl, nicknamed Chicken by her nanny, trying to get to the girl who
taunts her from the other side of the mirror.
KFC by David Higham – a teen gang love story about a boy Krishane,
known as KFC, who crosses into the wrong postcode to visit his
girlfriend but then has to get back.
Adding up the numbers by Arlene Jackson – a man arrives home after
being made redundant and is too afraid to tell his wife, but as suicidal
thoughts overwhelm him he decides he has to tell her, so they can get
through it together.
The Farmer’s Widow by Sarah Morris – a woman lures a rich neighbour
by taking him coq au vin, then poisons him with it after they marry.
HOW TO ENTER
Writers’FORUM
FLASH COMP
Enter our monthly quick writing
contest with a £100 first prize
T
he editor’s monthly competition for short short
writing has a £100 prize for one winner and a
number of runners-up may also be published,
depending upon the nature of the contest and available
space. The flash competition is FREE FOR SUBSCRIBERS
(single entry only). For non‑subscribers (or extra
subscriber entries) the entry fee is £5, which you can
purchase by following the link on the Writers’ Forum
website (www.writers-forum.com).
Entry is strictly by email only.
Writers’ Forum wants to encourage you to write, so:
■■ We will have a theme/task each time so that new
writing has to be produced.
■■ There will be a tight deadline so that results can be
published quickly and entrants can’t dither!
The editor’s decision is final and no correspondence over
results will be entered into. By entering, entrants agree to these
rules and for their entries to be published in Writers’ Forum.
COMP 204:
PHONE CALL
Deadline: 12 noon GMT
on 1 October 2018
Editor’s assignment: To celebrate our new
playwriting column, write a monologue in 400 words
(±20) that takes the form of a telephone call. Don’t give
scene descriptions or stage directions, just the words of
one side of the conversation. The reader should get the
whole story from that. Think hard about how to make it
an interesting phone call that holds our attention…
How to enter
1 Paste your entry straight into the body of a new email
(NOT as an attachment) followed by the wordcount
and your name and address. Give your purchase order
number or state if you’re a subscriber to check against
our database. Add a line or two about what inspired you.
2 In the email’s subject line box, write Flash Comp 204:
followed by your interesting and relevant story title.
3 Send your email to flashcomp@writers-forum.com
by the deadline above.
The results will be published next issue. Good luck!
Writers’FORUM #204 29
THE BEST WAY TO SELF-PUBLISH
MAY BE WITH A PUBLISHER...

Eyewear has years of experience collaborating with

authors who want to self-publish, to maximise control of
their books, and to get a larger share of the profits –
BUT who also want the benefits a publisher can offer –
a respected imprint, wide distribution into bookshops
across the UK, Ireland and the USA; marketing and PR
experience; a proper launch; Oxbridge-level editorial
guidance; and high-quality book printing. Our Maida
Vale Imprint considers hybrid publishing as the best
balance between trade publishing and doing it all yourself.

NO ONE OFFERS MORE THAN WE dO – TAKE A

LOOK AT: WWW.EYEWEARPUBLISHINg.cOM

OR cONTAcT: INFO@EYEWEARPUBLISHINg.cOM
ANd ASK FOR TOdd, ROSIE OR ALExANdRA.
 INSPIRATION

THE WRITERS’

L
ocation, location, location are said the amusement centre of my brain for longer
to be the three most important things than it should.
when it comes to selling a house Hungarian is a language that eludes me, but
or opening a hotel, but location (or I didn’t need to read the signs to realise we were
setting) is important to a story, too. crossing the border. The landscape changed…
A good setting will bring a book vividly a curious mix of monotonous wasteland and a
to life. Try to imagine Wuthering Heights vast forest of wind turbines, more than I have
unmoored from Yorkshire, Harry Potter seen even in Denmark or the Netherlands. The

Paula Williams finds inspiration from a couple of travel bloggers

without Hogwarts, or Rebus without
Edinburgh.
This month, I’m featuring two writers who
are both brilliant at writing about settings.
But they’re not fiction writers, they’re travel
bloggers.
Jane Odriozola is at the beginning of her
writing journey.
‘I’ve always wanted to write,’ Jane says.
‘It feels like it’s bubbling like lava under my
surface. Right from the encouragement of my
teachers at school and a few local articles I
wrote, the feedback has given me hope. At
this later stage of my life, and in a far happier
place, I’m determined to try.
‘I’m now learning to observe so much… it
feels like having a new glasses prescription.
Suddenly I’m overwhelmed by what’s around
me, and challenging myself to write it down.’
Jane obviously has a great love (and gift)
for words. She’s a professional cellist and
the idea behind her blog is to share with her
readers life from her perspective in a busy
touring orchestra, reflecting on her passion
for language – and coffee! – and her curiosity
about the world in general.
This is a taster from her description of a
rail journey, a favourite part of which was
spent on the Austrian Railjet from Munich
to Budapest.
Predictably, the train oozed out of the station
precisely on time, smooth and practically silent.
As we passed into Austria, I celebrated the fact
with a piece of Linzertorte. When in Rome…
Austrian countryside charmed me with its
onion-domed churches and rich farmland. The
cows looked faintly smug. As we shifted tracks,
the train gasped out a hoarse sigh, sounding
exactly like ‘WhyyyYYYYY???’ This occupied
tracks became less smooth. More sighing from
the train. A glass of Hungarian wine went down
well at this point. Research purposes.
Jane’s blog can be found at janeodriozola.
com and is well worth a look.
Another blogger who writes very
evocatively is Georgie Moon, who blogs at
georgiemoon2016.wordpress.com
Georgie, her husband and their cat called
Artemis have lived on their boat Fandancer
for the past eight years and have made their
living sailing around the Greek Islands. It
sounds idyllic, doesn’t it? But as Georgie
explains on her blog, it is extremely hard
work and this year, sadly, is to be their last.
Both her descriptions and her stunning
photographs bring the places they sail to
vividly to life. One of my favourites is an
account of a visit to the island of Levitha.

FICTION SQUARE
Half way between Amorgos and Kalymnos
in the Aegean Sea, is the tiny Greek island of
Levitha. It’s mostly cruising sailors who know this
island, as it’s a good ‘bolt hole’ if the weather is
Roll a dice to find all the ingredients for your next story bad, as the various bays offer excellent shelter
from high winds of any direction.
– or use each of the squares as a daily prompt this month Apparently, the island is only occupied by one
family who look after a goat farm of 900 goats,
Ist & 2nd roll 3rd & 4th roll 5th roll 6th roll 7th roll
and also run a small taverna at their farmhouse.
Characters Traits Weather Location Object
They’ve put a dozen mooring buoys in the bay
1 7 13 19 25 for yachtsmen, and charge seven euro a night
A railway for the privilege. We took the dinghy ashore and
Dog breeder Psychotic Drought Identity tag
journey walked the short distance up the hill to the farm
taverna. There were goats everywhere!
2 8 15 20 26
Computer There were about half a dozen tables in
Shy Floods At sea Painkillers the farmhouse courtyard, beautifully decorated
scientist
with shady awnings, and displayed on the walls
3 9 15 21 27 were artefacts they’d fished from the sea, such
A Greek as parts of ancient amphorae jugs, and huge
Undertaker Nerdy Windy Money box
island sea shells.

4 10 16 22 28
Doesn’t it make you long to go there and
Yorkshire
Child Mysterious Foggy Sunglasses check it out for yourself? And wouldn’t the
Moors
train journey, the island or the boat described
5 11 17 23 29 in the blogs make great settings for a story? I
A school for Colouring write murder mysteries and can’t help feeling
Faith healer Freckled Hot
wizards book any one of them would be a brilliant setting
for a murder or two (fictional, of course!).
6 12 18 24 30 Has this inspired you to write a blog? Or
Miner Courageous Heavy rain Edinburgh Musical score do you already run one? As always, I’d love
to hear about it. You can write to me at
ideastore@writers-forum.com

Writers’FORUM #204 31
 NEW COLUMN!
MONOLOGUES
& SKETCHES
N
ine playwrights
have been selected
to write monologues
about the Windrush
generation for a series of short
films. The project is organised
by the Royal Court Theatre
in London, and directed by
Lynette Linton, who will also
be one of the writers.
The Windrush generation
was the first large group
of post-war immigrants to
come to Britain, invited by
the government because of a
critical shortage of workers.
They were promised a home
but, 70 years later, they and
their families have found
themselves classed as illegal
immigrants. Some have been
denied health services; others
have lost their jobs, and been
asked to leave the country.
Lynette Linton is of
Guyanese heritage and her
family has been affected by
the Windrush scandal. She
sees the project as a way to
contribute to the debate, and
to honour people who have
contributed so much to the
country.
This topical, political subject
is a very good example of the
sort of thing that interests
theatres. All writing, but
particularly writing for theatre,
is an attempt to show the world
from different perspectives.
The most important job the
nine writers are being asked
to do is to try and enter into
the feelings of the people
involved. If it isn’t part of their
direct experience, they need to
imagine what it feels like, and
32 Writers’FORUM #204
try to speak for those affected.
There have been discussions
among playwrights for
centuries about whether plays
should be political. Some, such
as Bertolt Brecht, wrote fiercely
political plays, while others,
such as Oscar Wilde, believed
in ‘art for art’s sake’.
Whatever your stance,
it is useful and interesting
when playwrights respond
imaginatively to the big
changes that are happening in
their time – and theatres are
likely to be interested in plays,
sketches and monologues that
do this.
The best playwrights can
make audiences empathise
with anyone, and are frequently
concerned to speak for the
Playwright Lynette Linton wants
dispossessed and the alienated. to contribute to the media debate
over the Windrush scandal
Economy of sale
for theatre. You can imagine
It is worth noting that the yourself into the mind of any It’s easier
Royal Court are commissioning character, and give them voice,
monologues in this instance. and then you can watch them to achieve
Many theatres are starved of become real on a stage.
funds, and writers should be Sometimes you’ll be
boldness of
aware that plays for a small disappointed and sometimes style with a
number of actors will always you’ll be delighted, but you
find a home more easily than will always learn from it. monologue
plays with a large cast. You’ll build up experience
Each actor has to be paid, seeing your work performed, plays when you have already
even if they only have a without the huge investment learnt to speak like that in
small walk-on part, so any of time and effort involved in monologues.
person who is not absolutely writing full-length plays before If you find your pieces are
obligatory will be axed. It is you are ready. enjoyed in the theatre, then
much better, then, if you don’t It has been said that it is that is the time to move on
put those random characters in easier to achieve ‘boldness of and start writing one-act or
in the first place. style’ with a monologue than full-length plays. Membership
Monologues and short in a full-length play – and it of a theatre lab will provide
sketches are an incredibly will be easier to carry that support throughout the
good way to begin writing boldness of style over to process. (See my article in the

Theatre news and
opportunities with
Pippa Roberts
#195 January issue for more
information about this.)
Connected comps
There are many comps out
there for monologues and short
sketches. Everybody disagrees
about how long they should
be. Pinter famously said: ‘Don’t
count the number of lines…
count the heartbeats,’ and this
makes perfect sense when you
understand how you can use
silence in your plays, and how
it will affect the timing.
Never underestimate your
actors. They don’t need
hundreds of words – they can
say everything in the silences
EXERCISE
Find a news item that moves
or interests you and write a
monologue or short sketch
exploring the situation of
those involved. Stick to the
time limits mentioned below.
As a rule of thumb, one A4
page equates to about a
minute, but allow time for
movement around the stage,
and the all-important silences.
you give them. It is all about
pauses and heartbeats, and
what is not said. Silence is your
most powerful tool.
Having said this, it is
sensible to look at the rules for
these competitions, which can
help you to take your first steps
in writing for theatre.
We are usually told that
monologues should not exceed
five minutes playing time, and
a short sketch (with two actors)
should not exceed 10 minutes.
In practice, this works well.
It is sensible to write a few
monologues and sketches, and
keep them on your computer
for the right occasion. Call-outs
for scripts are often announced
at short notice, and busy
writers who like to mull over a
subject can be hard-pressed to
do work in the time given.
Many news items are linked
to subjects that crop up over
and over again, so this system
doesn’t mean that you can’t
write about social issues. You
might find you produce some
sketches or monologues in a
white heat of fury or in bursts
of manic laughter (the two
often go together) while some
will evolve more slowly.
• Pippa Roberts trained in theatre
writing at Cheltenham Writers’
Lab, Salisbury Emerging Writers’
Group and Theatre Centre,
London – and now writes plays,
poetry and stories for all ages.
THEATRE NEWS
WATCH FOR INSPIRATION
Four fabulous comedy monologues can be found on the BBC
website at https://www.bbc.co.uk/programmes/p069vfmb.
Written for BBC Live Music Festivals, I particularly recommend
Porta-lols by Kirsty Roderick, which made me laugh out loud,
but there are many funny and poignant monologues on the site.
HELPFUL BOOKS on short sketches
Pint-sized Plays is a series of anthologies produced by an
annual playwriting competition. Some of the plays chosen
each year are taken to the Edinburgh Festival or performed at
venues in Wales. Successful writers are paid and provided with
a writing mentor. See www.pintsizedplays.org.uk for more.
Great Scenes and Monologues For Actors edited by
Michael Schulman and Eve Mekler An anthology that will
introduce you to professional sketches and monologues.
Creating Your Own Monologue by Glenn Alterman
Offers advice and information on writing monologues.
SCRIPTWRITING WORKSHOPS
The ARTWRITE movement is a new initiative from playwright
Angela Street, winner of this year’s Olwen Wymark Theatre
Award. She says: ‘The idea is to hold writing workshops in art
galleries and exhibitions, using the artworks as inspiration.’
To kick things off, she will be leading workshops at an art
exhibition called She Did That at Bath Artists’ Studios from
1-18 November, which is about female artists working in the
music industry. The poster proclaims the workshops ‘will
involve gazing at paintings, daydreaming, doodling and doing
weird writing exercises’. Should be thought-provoking and fun
– and who knows what might come out of them?
OPPORTUNITIES
Square Peg Theatre, a touring company based in Manchester,
are looking for ‘neurodivergent’ writers for a public showcase in
April 2019. Neurodivergent covers autism, ADHD, dyslexia and
any neurological condition that affects your life. The organisers
hope to hear from people who experience the world in an untypical
way. See www.mainspringarts.org.uk/square-peg-scripts
PLAYWRITING NEWS
The three winning scripts in this year’s International Windsor
Fringe Kenneth Branagh Award for New Drama Writing are
The Claykickers’ Chorus by Kevin McMahon, Cut and Paste by
Jeff Nolan, and Waiting for Hamlet by David Visick. The overall
winner will be announced at the festival in October. Find out
more about the comp and festival at www.windsorfringe.co.uk
Writers’FORUM #204 33
 What am I writing? Notes
Enter brief notes about what you want to achieve TODAY Important dates
(or plan your work for TOMORROW if you prefer) and deadlines
Flash comp #204
Mon 1
Tue 2
Wed 3
Thu 4
Fri 5
Sat 6
Sun 7
Mon 8
Tue 9
Wed 10
Thu 11
Fri 12
Sat 13
Sun 14
Fiction comp (rolling deadline)
Mon 15
Tue 16
Poetry comp #204
Wed 17
Writers’ Forum #205 on sale
Thu 18
Fri 19
Sat 20
– pin up this calendar and then use it to
keep track of your progress this month
Time to get serious about your writing

Sun 21
Mon 22
Tue 23
Wed 24
Thu 25
Fri 26
Sat 27
British Summer Time ends (clocks back 1hr)
Sun 28
Flash comp #205
Mon 29
Tue 30
Halloween
Wed 31
 Writers FORUM

October 2018
‘To him, all good things –
trout as well as eternal
salvation – come by grace
and grace comes by art and
art does not come easy.’
Norman Maclean,
A River Runs Through It

Pin up this calendar and then every morning add a note

about what you are going to write that day – it really works! Image: Tithi Luadthong

Want to write a novel but not sure where to start?
Part-way through your draft but now you’re stuck?
Lacking in confidence or paralysed by self-doubt?
Need some general writing advice and guidance?
Want to understand how publishing really works?
Looking for feedback on your manuscript?
Want to write but don't think you have the time?
At CrimeFictionCoach we understand that writing a
novel can be a daunting process. That’s why our
coaches are experienced crime writers with over 30
years of publishing experience and a host of bestselling
novels and awards nominations between them. We
offer a whole host of services from one-to-one-
coaching, manuscript critique or just that pep talk you
need to keep you going. Browse through the packages
on our website, and contact us to find out more.
WWW.CRIMEFICTIONCOACH.COM
Contact us: crimefictioncoach@gmail.com
Come and be inspired by our
experienced tutors.
We run day courses in all types of
fiction, poetry and life writing.
We also offer day retreats where
you can escape your domestic
demons and focus on your writing.
We offer a beautiful, peaceful
space in which to write and learn.
Whether you need to crack a plot
line, finish a sonnet, or start that
novel you’ve been longing to write.
Visit the website and to book your
place on one of this autumn’s
courses.
www.cambridgewritingretreat.com
gaynor@cambridgewritingretreat.com

* Quote CFCFORUM18 for your 20% discount *

T&Cs: One discount per customer. Must be quoted on booking.
Valid for bookings made before 31st December 2018.
 STORY COMP

Writers FORUM
fictioncompetition
Congratulations to this month’s winners, Charles W Warren, Sue Dawes and Sarah Mackey.
Do you have a short story that could impress our head judge Lorraine Mace?
Any subject, any style is welcome. Turn to the rules and entry form on page 41.

FIRST PRIZE £300

Spicy Food
Charles W Warren

Contains some strong language

W
HERE IS LITTLE EMILY?’ demanded the headline
on Ernest Johnson’s local paper. There was a picture
of a smiling girl of six wearing a purple Alice band.
Ernest sighed and folded the paper. Another child
missing and no one seemed to know why.
He shook out the last drops of coffee in the cap of his flask and
screwed it back on. He was sitting in a square of sunlight that had
followed him through the wide front door of a Victorian house.
Beyond him, the light surrendered to the shadows and faded wall-
paper of the hallway.
Where the hell was Trevor? This was a big place and they needed
to get a good start.
Ernest had a feeling about every house he cleared. This one wasn’t
good… but he couldn’t say why. Sometimes they were simply
disgustingly dirty, sometimes there was just too much stuff to shift
in the time he had… and sometimes, despite years in the business,
he simply did not know what to do with all the old crap after rela-
tives, auctioneers and charity collectors had picked through it.
Twenty tins of dried-out paint, anyone?
‘Sorry I’m late, boss,’ said a voice over his shoulder. It was accom-
panied by a gust of Indian takeaway, vodka and vinegary sweat.
‘Big night out, Trev?’ inquired Ernest, knowing that his employee
had almost no social life.
‘Na… good movie, few drinks and a curry. Can’t beat it.’
They were on a frayed rug in the hall. Beside them a pair of
doors opened into a high-ceilinged reception room. It was dark, a
few blades of sunlight cutting between the bay windows and the
wooden shutters that sealed them.
‘We’d better get on. This is a big place and there’s a fair amount to
shift,’ said Ernest. He couldn’t get over his unease. He wasn’t going
to say anything about it to Trevor – he’d probably start blathering
about one of the horror films he liked so much. Most days he’d get
on to the plot of the one he’d watched the night before. Gruesome,
cruel rubbish mainly.
‘You found this place OK?’ asked Trevor. ‘The lane went on so
long, I thought I’d taken the wrong turn.’
‘Looks like she moved some of the beds downstairs, so we should
be able to clear upstairs by lunch.’ Ernest didn’t feel like chit-chat.
‘She?’ Trevor clearly did.
‘The old dear that owned this place. Died two weeks ago in
St Ignatius. I used to see her walking to church most Sundays.
Bloody long walk, out here. Lived on her own, husband shot himself
ten years ago and they had a boy. He’d be forty-odd now.’
‘I remember. Edgar, wasn’t he? There was a thing in the Gazette
about him going off backpacking to some remote bit of India. These
days all the young ’uns do it.’
‘Let’s get started.’
‘Edgar!’ snorted Trevor, picking up a roll of bin liners. ‘Name like
that, I’d change it.’
From the window of a rear bedroom Ernest looked out over the
vast garden. It must have been a beauty, landscaped with Lebanon
cedars and copper beeches, but now the shrubs and roses fought a
losing battle with the knee-high grass and weeds. Ivy swarmed up
the trunks of the trees. At the garden’s edge stood a dark regiment
of pines with a narrow gap for a gravel path that Ernest guessed
must lead to town.
Behind him he heard Trevor swearing at a chest of drawers. He
didn’t care much for four-letter words so he picked up a pair of
Continued overleaf

Writers’FORUM #204 37
 STORY COMP
Spicy Food continued
chipped dining-room chairs that had somehow migrated into the
bedroom and waltzed them out of the door and down the stairs.
Those butcher’s knives, they must be worth something, thought
Ernest, glancing across the kitchen worktops of cracked Formica.
He’d put them in the lock-up… along with the rest of the junk recov-
ered from other houses that he thought he might one day get time
to take to a car boot sale.
He’d already filled five bin bags and four big crates and moved the
kitchen chairs out to the lorry. There wasn’t a huge amount in the
cupboards. A lot of spices, which he’d binned, and a few shrivelled
veg from the fridge. Trevor could give him a hand with the kitchen
table when he got downstairs.
‘Lunchbreak, boss,’ said Trevor.
Ernest looked at his watch. Indeed it was 12:30pm, but how typical
of Trevor to be so ready for it. In fact, he was a little tired of Trevor.
He was big and strong and didn’t mind the dirt, which what you
needed in a job like this, but he was also always late, always dying
to finish and always a bit ripe. Maybe it was that foreign food he ate.
‘I just chucked a lot of spices,’ said Ernest. ‘You should have a look
through them. Right up your street.’ He sat down and pulled a foil-
wrapped sandwich from his canvas bag.
‘What is it today, Ern? Cheese and tomato or cheese and pickle?’
Ernest couldn’t hide his irritation. ‘How’s your move going? Is
that why you were late again this morning?’
‘Can’t find anywhere. Landlord wants me out pronto. You don’t
have a spare room for a week or two, do you?’
‘Nope,’ said Ernest quickly. He relented a little. ‘We have the
grandchildren over from time to time.’
‘You didn’t tell me you had grandchildren. What age?’
Ernest didn’t like sharing his personal life with Trevor and wanted
to know as little as possible about Trevor’s – unless it affected his
work. ‘You know, you could have taken today off, as long as you
give me plenty of warning. I could have got Brian in.’
‘Brian doesn’t need the money like I do, boss. Anyway, I wanted
to see this place. I wanted to be here.’
‘It’s like one of them old houses from those films you watch,’ said
Ernest and then regretted it. Get Trevor on to the subject of horror
films and it was hard to get him back to work.
‘Kind of.’ Trevor was eating a cold samosa. ‘Which reminds me,
the one I watched last night was a classic.’
‘I doubt it.’ Ernest changed the subject. ‘That Edgar, he would
have been at school with you?’
‘Na. Went to some posh boarding school, then fucked off to India
and cooked his head with drugs. Don’t think his Mum and Dad
were impressed.’
‘How do you know all this?’ said Ernest, paying a bit more
attention.
‘We knew him a bit. He was our age, so we talked about him in
the pub… years ago, this is. His parents were serious Bible bashers
and I think his Dad went out to India to get him and topped himself
’cos Edgar was in such a state and wouldn’t come back. Something
like that, anyway.’
‘We? You had friends then?’
‘Very funny, Ern.’
It was 4pm and Ernest was sat on a box of books, mostly religious
stuff with hardback covers of navy blue and burgundy, names
handwritten inside and spots of mildrew on pages that were closer
to brown than white. Worthless.
He was finishing the last of his coffee and the shortbread Maude
had wrapped in foil for him when he realised that they had not
38 Writers’FORUM #204
touched the cellar yet. A house like this was bound to have one.
He was tired, filthy and ready to go home. He prayed the cellar was
empty.
Trevor materialised. ‘Ready to go? That last set of drawers was a
bastard.’ His pale face gleamed like the fat on a leg of meat and his
hair was plastered on to his forehead. Dark circles had ballooned
under his arms and threatened to reach the waistline of his tracksuit
bottoms.
Ernest’s nose shrivelled in the miasma of his employee’s body
odour. He wished there was some way he could stop inhaling it.
‘We need to check the cellar.’
‘Fuck it. We could just say it wasn’t in the contract and if they want
it done, they’ll have to get us back.’
‘It’s in the contract.’
‘I’ll do it then. You finish your coffee and I’ll take a look.’
Ernest watched him go, his boots heavy on the bare floor in the
hall, and totted up what he had managed to rescue from the house.
The knives, some nice sets of cut glasses, an enormous Bible with
a clasp on it and a huge meat cleaver, which he wasn’t even sure
he’d be able to sell. What on earth did the old dear need a thing like
that for? A Tesco lasagne? Most of the old folks’ houses he cleared
were stockpiled with tinned food and ready meals. Sometimes he
dealt directly with the deceased’s relatives, but often he was simply
instructed by solicitors, who didn’t care much if he commandeered
a few bits and pieces.
‘Nuffin down there,’ announced Trevor. ‘Just a few old tins of
paint.’
Ernest nodded. ‘Can you put these last few boxes in the lorry. I’ll
give the place a once-over then we can call it a day.’
Upstairs, Ernest went from room to room of the dry old house,
past gaping cupboards, empty shelves and pale squares on the walls
where pictures used to hang. Trevor had been pretty thorough, by
his standards. From a front bay he watched his assistant loading the
lorry, pausing to pick up the meat cleaver and look it over.
Trevor was still outside in the lorry when Ernest reached the
bottom of the stairs. The front door was propped open with an old
paint pot and he could hear him puffing and cursing as he loaded
the last few boxes. The paint pot reminded him… he really ought to
check the cellar himself.
Trevor’s scent hung heavy as a blanket in the windowless space.
So why didn’t he say there was so much stuff down here? Different
sorts of things to upstairs. There was big telly, a sofa of black imita-
tion leather and behind it, in a corner, a single unmade bed. On the
wall were row upon row of DVDs. He peered at the titles… Saw,
Creep, Hostel and Night of the Living Dead, their names shouted out in
warped red capital letters. The sort of crap Trevor liked.
The solicitor said nothing about a tenant, but someone clearly
lived down here. There was everything but a kitchen and a loo.
Whoever it was must just pop upstairs.
He started looking through the drawers. Just how much of this
were they supposed to clear? He pulled out his mobile phone to ring
the solicitor.
No signal. He was in a cellar, after all. He cursed. This lot would
take the best part of a morning so they’d have to come back. He’d
ring Price and Lee tomorrow and arrange another visit.
He was about to close a drawer when he glimpsed an old map.
It was water damaged and frayed along the folds but the title was
clear enough – Assam and Arunachal Pradesh – and so was the name
written across it in faded biro… Edgar Chaney. He pulled another
drawer open. There was neat stack of school exercise books. He
didn’t recognise the names written on the covers, but one of them –
Emily Stock – rang a bell. Next to the books was a shoe box of other
childish junk, crayons, badges, hair grips… and a purple Alice band.

‘You ever been really hungry, Ern?’ said Trevor. ‘So hungry you’d
eat almost anything? Actually, forget the “almost” part of that.’
Ernest started. He hadn’t heard Trevor on the stairs. He was still
thinking about the Alice band.
‘You could disguise the taste… the thoughts about what you ate
with spices, lots of spices.’ Trevor had reached the bottom of the
narrow wooden stairs. He was holding the meat cleaver at his side.
‘See, I got so lost, so fucked up, so out of my head, all those years
ago in Assam, in the hill forests, but I had to eat… I’ve always had
an appetite. Mum knew that, bless her.’
‘What are you talking about, Trev?’ Ernest tried to control the
tremor in his voice as it dawned on him who he was looking at.
‘See, once you get a taste for such… such tenderness… it’s hard to
go back to ham, salad, spuds, fucking pickle. Good old British grub.
I tried, I really tried. Mum understood.’
SECOND PRIZE £150
Treading Water
Sue Dawes
T
hey glance at each other across my hospital bed.
‘Do you remember anything that happened on Sunday
night, Jane?’
The man that speaks has such long arms that his uniform
doesn’t reach his watch. It’s black and plastic and fills the silence
with an irritating click-clack.
Sunday?
How long ago was that?
I want to ask but I can’t form the words and anyway, it’s painful to
speak through lips that are glued together by scabs.
There it is again, that look passing between them.
I blink, and decide I’m going to call this man ‘Arms’ because I
can’t recall his actual name, even though he’s repeated it several
times. The other one, the woman, I’ll call Eyes because she speaks
through them, even when her lips don’t move. She’s easier to read so
it’s her I’m going to watch.
She shifts position. I move my head a fraction and glance across.
Her black boots look heavy, weighing her down.
They’ve been standing there a while now.
‘Do you remember anything at all, the weather… anything?’ Eyes
asks. She softens the tone of her voice like a friend. Maybe she is,
maybe she’s not. I have to rely on the information in front of me.
I think about saying no I don’t remember, but the last time I tried to
speak it came out as a dry gargle and the sympathy was suffocating.
They share that look again as I shake my head.
A doctor walks into the room and immediately it’s overcrowded. I
know this one’s name because it’s pinned to the pocket of his white
coat, underneath the pens, pin-light and used tissue, which I’m sure
is against health and safety protocol. Dr Singh sneezes, digs out the
tissue and blows his nose. The paper turns translucent. This time he
throws it into the bin marked ‘hazardous waste’.
The police step back to let him pass and Arms moves a touch more
than he needs to.
‘She’s not ready to be interviewed,’ Dr Singh says. ‘I did tell your
superior.’
He’s annoyed at not being heard, I can see it in his jaw, which is set
tight. Imagine how I feel.
Continued overleaf
STORY COMP
‘You’re Edgar,’ blurted Ernest.
‘I was Edgar. He died somewhere in India. Now I’m Trev and I’m
househunting. Of course, I can’t always have exactly what I want
to eat, but any more young ’uns go missing and the police might
actually do something. Time to move on.’
Trevor looked at the meat cleaver. ‘You really didn’t need to come
down here, Ern. You should have just taken my word for it.’
About the author Charles lives in Surrey and is a part-time
national newspaper journalist who has been writing short
stories for about four years, in between the demands of work
and family. He is thrilled to have a story placed first.
‘Perhaps you should have waited until I called you. Like we
agreed,’ he continues.
Arms shrugs and Eyes frowns.
The doctor sneezes again and brushes the air with his sleeve. I can
see the pollen puffing in the strip of sunlight that bounces off the
starched white sheets that contain me.
‘It’s vital we speak to her. A man’s dead,’ Arms says.
Dr Singh sighs and it whistles down his blocked nose.
‘And it’s vital…’ he lets the word hang, ‘that my patient has time
to recover.’
He sneezes again.
They’ve given me a mirror. I insisted. I wrote the instructions in
capital letters on the white-board left by my bedside, just so they
know it’s important enough to shout about.
It was a challenge to keep my hand from shaking as I tried to
remember the order of the letters.
MIRROR
I need to know who I am.
The HCA passes me the mirror and hovers by my bedside, not
quite close enough to swat away. She is nervous and picks at a
hangnail.
The mirror is metal and has a hole in the handle. I put my finger
through it to see what it feels like: cold and new.
I turn the glass towards me, close my eyes and count to five. I
would count to ten but I can’t seem to remember the next number.
It flits in and out of my head like a dragonfly. I look at my reflection.
Disgusting but they warned me I had serious injuries. Serious is
always better than life-threatening.
Apparently.
I look slowly down my face but it’s hard to see with eyes so swollen
Writers’FORUM #204 39
 STORY COMP
Treading Water continued
that the whites are slits between bruised knobs of flesh. There are
black stitches down one side of my face that continue round the back
of my head. They’ve shaved half my hair off to accommodate them.
The rest is knotted.
Maybe it’s better I don’t remember what I looked like before.
I’m lucky to be alive.
Apparently.
When the HCA takes the mirror, I see her shoulders relax under
her blue uniform.
Arms and Eyes are back.
This time the doctor has arranged for extra chairs to be brought
into the room. They’re not comfortable: hard and plastic, definitely
not fit for purpose.
I heard him say that I’m out of danger and can be questioned
without risk of seizure; the surgery was successful.
Arms has long legs and has to man-spread them to get comfort-
able on the bucket seat. There are shiny patches on his trouser knees.
Eyes, in contrast, is compact and straight-backed. I can see the hem
where she’s taken her trousers up, a tiny row of dents in the navy
fabric like teeth marks.
‘How are you feeling?’ Eyes asks, raising her eyebrows. They are
thinner than last time, less expressive but better arched.
I nod. I can move my head a fraction now without fear of it
exploding.
‘Good,’ she says, taking a notebook from her pocket. She snaps
open the elastic.
I glance across at Arms. He’s looking out of the window. There’s
nothing to see unless you’re into exterior walls. Whatever.
‘I need to ask you about Sunday night,’ Eyes says. She clicks the
top of her pen.
‘What about it?’ I try not to move my lips as I speak. I’ll make an
excellent ventriloquist when I’m done here.
‘Anything you can remember before… the accident.’
No one has told me about my situation: how I came to be here;
who the dead man is. They are as tight-lipped as me, except theirs
is choice.
‘Nothing,’ I say.
Eyes passes me a photograph. It must be of the dead man, why
else would they show me? He’s young, fit and most definitely dead.
‘Do you recognise him?’ she asks.
I try to imagine him with life coursing through his veins rather
than formaldehyde. But I can’t. I don’t know him.
Eyes is watching me carefully. I feel her gaze like a hot flannel on
my face.
‘A stranger?’ she asks.
Arms frowns.
She’s leading me.
‘Do you recognise the man or not?’ Arms asks, his voice drowning
out Eyes’ sigh.
‘Not,’ I say but think it’s a pity he’s dead. He has a nasty bruise
on his neck.
‘Do the names Robert Haynes or Alice Haynes seem familiar to
you?’ Eyes continues, gently.
I roll the names around in my head and over my swollen tongue.
‘No.’
Eyes nods, writes something down.
‘Thank you, Jane.’
But I haven’t told her anything.
I ask for my possessions. They give me a waterproof bag with a
watch and a mobile phone inside. No wedding ring. I hesitate before
40 Writers’FORUM #204
opening it.
It smells of salt and plastic.
The phone switches on when I press the button on the top. There’s
a photo of a dog, nose pressed up against the screen.
I type the name Alice Haynes into the contacts.
Nothing is listed.
I switch to Google and type it in again. There are several results:
Tragic diving accident leaves young husband dead.
I read the leading article, which is from the Daily Mail.
Honeymooners Alice and Robert Haynes were swimming off Corralejo
beach when a rip-tide took them under. Unable to assist, onlookers watched
in horror as the tragic couple were pulled out to sea. The rips in this area
are strong enough to disarm even the strongest of swimmers. Mrs Haynes
battled bravely to shore to raise the alarm but, sadly, for Robert Haynes it
was too late. He was declared dead after being pulled unconscious from the
water. Mr Haynes had been suffering from a shoulder injury.
I wonder what this has to do with me.
I scroll down the page to the photograph of crystal clear waters
and white beaches, a vivid sunset and in the front of the frame,
Robert Haynes, wearing a Union Jack vest. He’s holding a bottle of
Budweiser, the label bleached, and his stomach presses against the
fabric of his top.
I feel nothing.
There is another picture underneath of the newlyweds.
I gasp.
Take away the hair and the heavy make-up and Alice Haynes is
me.
Arms enters the room on his own this time. I look behind him
hoping to see Eyes but she’s not following. He glances above the
bed as he sits down, choosing the blue, wipe-clean, padded visitor’s
chair.
I look up at my new-old name, written there.
Alice.
I am no longer Jane. The doctor said I must have heard the para-
medics call a Jane Doe in, and then latched on to it.
‘Your memory is coming back then,’ Arms says, without preamble.
‘No.’ I still don’t move my lips to form the word. I prefer the way I
sound without it, like someone else. Someone new.
‘How then?’ he asks.
I reach over and show him the mobile. I have bookmarked the
article.
It was eighteen months ago.
‘How did you get this?’ Arms frowns and takes the phone from
me, carefully between his fingertips. He takes a bag from his pocket
and seals it in.
He glances back at the doorway.
I realise he is here without permission.
He looks back at me. His voice is a low hiss and I can smell the
coffee on his breath. ‘I know what you’ve done, Suzanne.’
Suzanne?
Arms leans forward, gauges my reaction to this new name.
But there isn’t one.
He continues to sit, tells me he has all the time in the world.
He watches the HCA assist me in sucking soup from a small
spoon. The only peace I get is five minutes when they change my
catheter bag, which has leaked urine.
Arms is back in position before the clean sheet is tucked around
me, covering the mottled red skin on my hip.
I have been lying prostrate, dangerously long according to the
nurse. They need to get me up and moving.
I’m exhausted. I close my eyes to blank Arms out.
 STORY COMP

Writers FORUM
Want to see YOUR story published?
I wake to find an empty chair. Someone has put a wheelchair
next to my bed and switched the TV to Jeremy Kyle. A woman in a Three great prizes every issue
too-short skirt and black eye-liner is shouting on screen. Did Arms 1st £300 2nd £150 3rd £100
pay to watch while he waited?
I wince. All types of story are welcome, be it crime, comedy, history,
The door to the room opens and Dr Singh walks in. He frowns at romance, horror, sci-fi… but THEY MUST BE ENTERTAINING/
the TV and switches it off. RIVETING NOT UNREMITTINGLY BLEAK. Don’t rely on
I relax back against the pillows. subjects like death, abuse etc to add cheap emotion. Stories
Dr Singh looks at the chart at the end of my bed, at the print-out must work harder to engage readers.
they pulled from the heart monitor earlier. He nods at the numbers ● Entries MUST be between 1000 and 3000 words.
and moves to my bedside. ● Documents must be on plain A4 paper with double line
‘What’s my name?’ I ask. spacing and good margin widths. No handwritten entries.
Dr Singh hesitates; his pin-light paused on my pupil. ‘What makes ● On the title page give your name, address, phone number,
you ask that?’ email, story title and wordcount.
I shrug or at least try to but my shoulders are stiff and unyielding. ● Entry fee is £6 or just £3 for subscribers. Cheques (sterling
It’s like moving concrete. ‘I heard something.’ only) should be made payable to ‘Select Publisher Services’
He frowns. ‘Omething? Oh right.’ or fill in your card details below.
It is hard to say ‘s’ without moving your lips. ● If your entry is placed you will be notified and asked to email a
Dr Singh flicks the light off. ‘Pupils normal,’ he reports. Word-compatible file of your story plus a brief bio and photo.
He puts the light back into his top pocket. I can see his nose is red, How to enter
despite his dark skin and thin moustache. Enter at www.writers-forum.com or post this coupon
‘You’ve had a major procedure,’ he says, as if that explains every- (photocopies accepted) with your payment and manuscript to:
thing. He turns to the nurse. ‘Let me know how she gets on.’ Writers’ Forum Story Contest
PO Box 6337, Bournemouth BH1 9EH
It takes two nurses and an HCA to assist me. I’m like a broken doll By entering, authors agree for the story to appear in Writers’ Forum if it wins
and, once seated in the wheelchair, I look at my legs, which hang a prize. Entries must be in English.There is a rolling deadline – entries arriving
down like two bits of stained rope: knotted and useless. too late for one contest go into the next.
As they push me towards the door I feel an unwelcome panic: my Name
heart on double time, pulsating in my ears.
‘We need to get you moving,’ the nurse says. ‘Nothing to be Address
worried about.’
I want to stay here, in this room, but I don’t know why. I clutch Postcode
onto the arms of the chair until my knuckles bleach. Email address
The HCA takes my hand and rubs life back into it.
I’m shaking, my whole body reverberating. Phone number
‘It’s OK to be scared. You’ve been through a lot,’ she says.
But it’s more than that. Story title
My breath comes fast in a crashing wave.
Length words
Someone wants to hurt me.
I know this, yet I don’t know how I know. I declare the story has not previously been published or
My world turns white. broadcast and that it is my own work
I scream.
ENTRY FEE: £6 (non-subscriber) £3 (subscriber)
I’m back in bed. Subscribe below and take advantage of our special entry fees
I’m not alone. – you can also subscribe online at www.writers-forum.com
Eyes and Arms are back. OPTIONAL: Please enrol me for an annual subscription
Arms looks agitated, standing by the window, like he’s at the £38 UK £49 Europe £56 Rest of world
start of a race but is being held back.
By me? FEEDBACK: I would like a story critique from the judges and
Eyes is sitting on the visitor’s chair, reading a magazine. include a large stamped addressed envelope plus the fee of £5
Arms steps forward, and close to my ear, whispers. ‘Got you.’
Eyes must notice him move because she shuts the magazine. I see TOTAL amount payable £
the title: Firearms.
I enclose a cheque My credit-card details are below
It’s my turn to frown.
I try to move away from Arms but I’ve been restrained and one of
my hands is cuffed to the bed. The metal cuts into my wrist. Visa/Mastercard/Maestro (delete) Total £
‘You’re under caution for attacking Gemma Campbell,’ Arms says. Card no
His smile is layered with threat.
Gemma is the HCA who was patting my hand. Expiry date Valid from (if shown)
I don’t remember.
Or do I? Issue no (if shown) Security no (last 3 digits)
A rush of blood in my ears and then… Signature

Continued overleaf I am happy for my story to be considered for a free fiction

workshop and to be featured in Writers’ Forum (optional)
Writers’FORUM #204 41
 STORY COMP

Treading Water continued

I remain passive, trying to relax as the story unfolds.
Body washed up.
I turn to Eyes. ‘I was frightened.’ I touch the back of my head and remember hitting it on the stern
She nods. ‘You’re on heavy medication. It might have caused a of the boat as David tried to pull me overboard with him.
reaction.’ He was stronger than I thought he’d be, even after the champagne.
Arms turns away, looks disgusted. A private investigator.
‘Is she OK?’ I ask. A liar.
‘You broke her arm. You’re stronger than you look,’ Arms says. Pretending to understand how much Robert’s affair hurt me.
I turn my attention back to the newsreader.
The CT scan is clear. There are no more clots, no physical explana- Suzanne Smith is in hospital with life-changing injuries.
tion for my outburst. They had to remove the handcuff because of Investigators found no damage to the boat. Police are keen for
the magnets and I’ve used the time to shake my aching wrist out. witnesses to step forward.
There’s a policeman standing outside the door of my room. Suzanne Smith is me.
He’s new. I changed my name to escape the past.
Or is he? I can smell the salt, hear him scream for help.
Maybe it’s the expression I recognise. Sneering like Arms. There was nothing I could do.
Or his smooth tanned skin. Nothing I wanted to do.
I feel it brushing mine, even though he stands several feet away ‘You’re a strong swimmer,’ Eyes comments.
from me. I don’t look at her. ‘I must be,’ I say.
I blink. To survive twice.
Eyes is still in the visitor’s chair. She’s typing something into her The news finishes and Arms walks into the room. He glances at
mobile phone. Eyes who shakes her head. It’s subtle but I catch it.
The porter re-positions my trolley bed and puts the brakes on. I smile at Arms, even though it hurts my cheeks.
‘Sorry,’ Eyes says, snapping the handcuff back on. ‘It’s procedure.’ I am my own witness and they are at sea without my confession.
She leaves her mobile on the chair and stands. I read the text, still Robert’s family needs to leave well alone now. I mean, who goes
sending on her screen. swimming with a shoulder injury?
She’s more likely to confide in me. I watch the weather forecast as the news plays out and think about
I stiffen. a new name: Annabel? Clara?
She’s not what she seems either. There are just too many to choose from.

We watch the news. Eyes thinks I’m ready to face the truth, thinks
it will help me.
I feel her scrutinise me. About the author Sue lives in Essex with her family. She’s
The newsreader wears a serious expression as he shuffles the had some success in writing comps and is working on a thriller.
papers on the desk. A picture of the dead man flashes up on the She contributes to the blog Wivenhoewriters. The way to her
screen, the dead man Eyes showed me. heart is through books, Border terriers and cake.
David Dixon.

THIRD PRIZE £100

Mrs Peacock and the

Broad Bean Baby
Sarah Mackey

N
ovember has turned our house as cold as Sunday mass. I
am wearing both my jumpers and an Aston Villa bobble
hat as I sit at the dining table, fiddling with our battered
Cluedo set. When I push the little silver dagger against the
tip of my finger I feel nothing.
I shiver. There is a whiff of last night’s bonfire on my clothes but
the memory of the flames doesn’t make me any the warmer. Still, cut down another tree to make the coal pile last longer and Mum’s
Dad is going to put radiators in the downstairs rooms next year – ‘all lips are tight.
being well’. Next year… all being well.
They say that a lot at the moment, Mum and Dad – ‘all being well’. ‘What does it mean, though?’ I ask my brother. ‘All being well?’
It is like an amen to our every prayer. We will go away at Whitsun ‘all ‘No more strikes,’ he says, rubbing his fingers together, eyes on his
being well’, but the caravan has not been booked yet. Our rusting, essay. He has short spiky hair. With the dark red tablecloth wrapped
clapped-out car will be swapped for a slightly newer one ‘all being around him he looks like one of our toy Roman soldiers.
well’, but for now we rely on Hail Marys to start it as the mornings ‘He’s not on strike, he’s laid off.’ I repeat what Mum always says.
get colder. The central heating will come. It will. But last week Dad My brother shrugs.

42 Writers’FORUM #204

Dad has been sent home a lot this year; his car factory runs out
of parts when the one in Birmingham comes out on strike. A man
called Red Robbo says ‘stop’ and everyone has to do what he says.
You’d think Dad would be pleased to stay at home but on the days
he’s not working he still gets up early and does jobs around the
house. He mends our bikes, spends hours on the car and tends
the vegetable garden. We will have a lot of cabbage this year. And
sprouts. I hate sprouts.
I put down the dagger and move Mrs Peacock off her start square
so she can chat with Professor Plum in the Lounge. Of all the rooms
in our house the lounge is the coldest, so we don’t use it much,
except at Christmas. We have a room called the sitting room, where
the fire is lit every day, and this one, the dining room, where there is
a fire for Sunday lunch. Dad builds it up just as Mum is putting the
hot food on plates and calling everyone to wash their hands ‘quickly
now’. Sometimes our food is nearly cold by the time Dad sits on his
special wooden armchair but the argument that follows has to stop
while we say Grace. The gravy congeals on my sprouts and potatoes
and I don’t feel at all like thanking God for giving them to me. For
other meals we squash around the heavy blue formica table in the
kitchen, where the cooker keeps us warm. I am the youngest so I sit
in the middle, clashing elbows on both sides.
In the Cluedo house there is no Sitting Room. It has a Kitchen and
a Dining Room and a Lounge – sometimes the murder is done in
there – but there is no Sitting Room. When I ask my brother where
it is he doesn’t know.
‘Perhaps it’s upstairs with the bedrooms,’ he suggests.
But that doesn’t seem right to me. Why go upstairs to watch televi-
sion when there are so many empty rooms on the board? Why is the
Library in the house instead of on the corner of the road? And what
is a Billiards Room?
‘Go away’, says my brother. ‘I don’t want to play with you.’
I roll the dice and leave, counting the squares between rooms.
One, two, three, four… Today I will be Mrs Peacock. She’s my
favourite. She has a blue dress like Our Lady and silver-grey hair
like my teacher.
Everyone else is out except my oldest sister, who is in the kitchen.
‘Go away’, she says when I open the door. The heat of her scowl
pushes me back out. She has not forgiven me for saying she’s got fat.
She has, though.
I roll the dice in my head and tiptoe through the house to the
lounge, counting twelve squares. One, two, three, four… I will hide
and then when Mum comes home they will get into trouble for not
keeping an eye on me. If I cry when she finds me she might let me sit
on her lap. They will all be sorry.
The lounge smells of corrugated cardboard, and of old soot and
emptiness. My breath draws little spirals on the still air and the brass
doorknob chills my hand as I stand looking in. It is not a bad room.
There is a bobbly blue sofa that I climb on when I am pretending to
ride Champion the Wonder Horse, and matching armchairs, which
are not suitable for riding, on either side of the fireplace. Our dark
wooden piano stands against the wall nearest the door.
In the corner where the Christmas tree will stand – ‘all being
well’ – are two boxes. Rolled sugar-paper posters with crumpled
edges poke out of the larger box, above bundles of leaflets, lami-
nated photographs, plastic collecting tins and fabric banners. I run
my fingers over the rough cardboard and close my eyes. The chant
fills my head. It is rhythmic, hard to forget and a very bad thing to
say. I can still feel my mother’s slap.
‘Freeya-borshun-ondee-manda-WOMAN’S-rightto-choose…’
In London we walked and held the banners high. We wore white
badges with little blue babies on. Groups of people gathered on the
other side of the metal barriers and shouted at us. Our side had
nuns and nurses: theirs had long hair and fierce faces. They waved
STORY COMP
cardboard signs and chanted the bad chant. It was exciting, and
scary. We were not allowed to shout back but when we stopped for
the speeches we sang We Shall Overcome and O Mary, Our Mother.
When we got the coach home it was dark again and I dozed, floating
on the chatter of church ladies.
‘Did you see Big Ben?’ asked my brother.
‘Yes’, I said. But I didn’t.
The babies in the second box are not blue like the badge babies.
They are pink, like skin, and made of hard solid plastic. There is
a shiny brown stand which, when it is put together, cradles each
of them in a baby-shaped hollow in order of size. There are six in
all, the smallest no bigger than a broad bean – its face blurry on a
too-big head and its body a lumpy blob. It’s a rubbish baby, really.
Although I am also a number six I don’t like it. My favourite lies near
the middle and is about three inches long. I can’t tell if it is a boy or
a girl – all the babies have their knees tucked up to their tummies.
‘Hello, Rose’, I say to my baby.
Mum was cross last time she caught me.
‘They’re not toys’, she said. ‘You’re not to play with them.’
But when I asked what they were for she didn’t answer. Just
picked the babies up and started putting them back in their box.
‘You were this big once,’ she said, hand closing over pink plastic.
‘How big?’ I asked. ‘Which one?’
‘All of them’, she said.
I don’t believe her. Babies can’t be this small. You would lose them
in the pram.
I was not supposed to be the youngest. The summer after I started
school Mum said we were going to have a little brother or sister
but when I came home from staying at Auntie Eileen’s house Mum
had gone to bed and there was no baby anywhere. I checked all the
rooms, twice. The house felt full of sadness, like on Good Friday, but
no one said anything. I am glad she changed her mind. Six is a good
number. Six fits around the table. Six can play Cluedo.
When I have fitted the stand together I put the babies to bed in it,
one by one. I lift the corner of a bobbly blue cushion and retrieve the
clump of pink toilet paper squares hidden beneath. Each baby has a
folded pink blanket to keep it warm. Even the rubbish, broad bean
baby has a torn sliver of tissue, although it is so light that it falls off
if I breathe too hard.
I sing to the babies; one song each while I hold their little blankets
in place. I start with the eldest, because it is not fair that the youngest
always has to go to sleep first. I do Twinkle Twinkle, followed by Rule
Britannia, using Dad’s special words, and then the Shake’n’Vac song.
Baby Rose gets Away in a Manger, which is my favourite carol, but
then my voice is tired so I say the Goodnight Prayer for number five
and then do the bad chant three times, very fast inside my head, for
number six.
‘Freeya-borshun-ondee-manda-WOMAN’S-rightto-choose…’
The babies sleep soundly. I find a patch of weak sunlight and
curl up next to them. Reggie pads in, tail high. I want him to keep
me warm but he sits on the upturned box lid next to my head and
washes his bum. His breath stinks of Kit-e-Kat. I wonder if the
Cluedo house has any pets. Perhaps Colonel Mustard has a dog?
I think Mrs Peacock would have a white cat, with long fur and a
shiny silver collar.
I have been lying on the carpet humming to myself for quite some
time when I hear our car growl and rattle through the gate and up
the gravel driveway outside the lounge window. I swing back up
to sitting, head swirling and cold fingers fumbling with tissue and
babies and stand and box. The two smallest babies are stuck and I
bend the plastic between my hands to ease them out. There is a loud
crack as the stand breaks and I watch numbly as the broad bean
Continued overleaf
Writers’FORUM #204 43
 STORY COMP

I
Mrs Peacock and the Broad Bean Baby continued
always enjoy a good horror with the kitchen table when he
story where I know some- got downstairs.
baby shoots through the air across the room, hits the back of the thing bad is going to happen
fireplace and falls through the empty grate into the ash pan. but I can’t work out what, or When Ernest checks for him-
I think perhaps I will not wait for my mother to find me here after who, the victim will be. self that the cellar is empty
all… Charles W Warren’s Spicy and discovers someone must
Outside car doors are slamming, voices arguing, footsteps Food is a satisfyingly tense have been living there, the fact
crunching on gravel. I scramble over to the hearth and rummage story that had me fooled for a we know Trevor is on hand is
frantically through the soft ash and fallen soot for the lost baby. It is while but, even once I’d figured reassuring at that point, rather
no longer pink and shiny but grubby grey, like a stone… like plasti- it out, definitely delivered on than menacing.
cine when the colours mix. I spit and rub; there is no time for more. the horror theme.
The dark dirt in its fleshy creases matches that in my fingernails. From the opening paragraph From a front bay he watched
The argument moves through the back door into the kitchen as I we know something nasty is his assistant loading the lorry,
cram everything back into the box, including the now-grey broad happening in the town. pausing to pick up the meat
bean baby, and thrust the cat-crushed lid on top. There is no time cleaver and look it over.
to roll the dice and count squares – I race back to the dining room, WHERE IS LITTLE EMILY?
where my brother is finishing his homework, and sit in a little ball demanded the headline on Ernest I was expecting the cellar’s
under the table, panting. My heart is pounding to the beat of the Johnson’s local paper. There was occupant to appear and Trevor
chanting London crowd… a picture of a smiling girl of six to save the day. The earlier
‘Freeya-borshun-ondee-manda….’ wearing a purple Alice band. misdirection sets up the per-
‘Why are you all sweaty?’ asks my brother, head upside down. Ernest sighed and folded the fect ending to a story of this
‘What have you been doing?’ paper. Another child missing and genre.
I ignore him and tuck my knees up tight to my achey tummy. no one seemed to know why.
He prods a question with his toe and a cold tear runs down my hot Trevor looked at the meat
cheek. My initial thought was that cleaver. ‘You really didn’t need to
‘Baby,’ he says, in disgust. Ernest might have something come down here, Ern. You should
A door bangs and someone stomps up the stairs crying. Mum to do with the disappearance have just taken my word for it.’

I
shouts from the kitchen and there is a defiant yell from above. It is of the children. It wouldn’t be
my oldest sister. The fat one. the first time readers have been also love being misled by
No one goes into the lounge. misled in this way, but Charles opening paragraphs. Treading
was a little too canny to do Water by Sue Dawes does
Later I lie in the bath. There is a draught blowing through the the obvious. The killer is none this very well by presenting
window frame and the walls are clammy with the captured steam other than Ernest’s co-worker the narrator as a victim – very
of not-enough hot water. A wet flannel is rapidly cooling on my Trevor, who appears late on convincingly too!
chest. Mum comes in. I cross my arms over the flannel and hold my the scene as if he has come We are invited to sympa-
breath. from far away. thise with this woman who
She kneels next to the bath and stares across me at the dripping We learn very quickly that has clearly undergone some
tiles. I look at them too, and her words cling to their soap-smeared Trevor loves horror films, lots terrible trauma, doesn’t know
surface. of curries and has no social her own name and has no idea
‘Has anyone said anything to you?’ she asks the tiles. ‘Anything life, but I am ashamed to say, of the days of the week.
upsetting?’ it didn’t occur to me until quite
I flick though memories. Does she mean the kids at the bus-stop? near the end that he might They glance at each other across
Or the man who chased us in the Passage? We said we’d never tell. be the killer – not even when my hospital bed.
I promised. Charles was kind enough to ‘Do you remember anything
‘Your sister has done a Very Bad Thing’, says Mum. ‘We are not spell it out for me! that happened on Sunday night,
going to talk about it. Not to anyone.’ Jane?’
Being bad is not kept secret in our family. Fingers are pointed, ‘Edgar!’ snorted Trevor, picking The man that speaks has such
slaps are slapped, words are shouted. As droplets of water weep up a roll of bin liners. ‘Name like long arms that his uniform doesn’t
from the tiles I puzzle over a sin too terrible to be named. The cold that, I’d change it.’ reach his watch. It’s black and
flannel sinks into my chest and wraps itself around a knotty mess of plastic and fills the silence with an
guilt. I wish Mrs Peacock was here. She would understand. The clues didn’t stop there. irritating click-clack.
‘She’s going to get married soon,’ says Mum eventually. Throughout the story there are Sunday?
‘All being well,’ I think. But Mum forgets to say it. She just gets references to spicy food and How long ago was that?
up, pulling out the bath-plug, and leaves, letting in a blast of cold air Trevor’s body odour because
from the landing. of his diet, but these are deliv- We see her as someone with
The greying water drains away. I think about Mrs Peacock and ered in such a way they don’t whom we can empathise and
the Lounge, the broken stand and the broad bean baby. appear to have any connection want to know not only what
I too have done a Very Bad Thing. to the missing girls. has happened to her, but also
who did it. The doctor’s protec-
There wasn’t a huge amount tion is used to set up another
About the author Sarah grew up in the Midlands and lives in the cupboards… a lot of spices, question for the reader to
in London. She writes short fiction as an antidote to her many which he’d binned, and a few puzzle over.
years of business writing and finds not having to stick to the shrivelled veg from the fridge.
truth very liberating. Trevor could give him a hand ‘It’s vital that we speak to her.

44 Writers’FORUM #204

Competition round-up
Expect the unexpected
Lorraine Mace explains why she chose this month’s winners
A man’s dead,’ Arms says.
Dr Singh sighs and it whistles
down his blocked nose.
‘And it’s vital …’ he lets the word
hang, ‘that my patient has time to
recover.’
Recover from what, and who
is the dead man? Sue teases
out the information bit by bit
so that we are absorbed by the
unfolding drama.
Even when the narrator dis-
covers more about the couple
the police are so interested in,
we are none the wiser. Our
Highly commended
There were nine other shortlisted stories this month:
Flowers for the Soul by Amanda Huggins
The Human Salamander by Craig Knight
Devil’s Advocate by Lesley Mace
In Her Footsteps by Victoria Gebler
House Shifting by Jane Shand
Marc Populaire by Akeem Balogun
Markie and Me by George Rodger
The Velveteen Boy by Pamela Iwantschak
Unforgiving by Annemarie Carroll
knowledge of the past rests
with a narrator who cannot
remember any of it herself. She
reads an account of a couple
involved in a tragic accident
18 months earlier where the
man drowned.
Mr Haynes had been suffering
from a shoulder injury.
I wonder what this has to do with
me.
The policeman then calls her
Suzanne and she clearly has no
idea why. It is after this point
that it begins to dawn on the
reader that the narrator is not
the innocent victim we have
been led to believe. Having
murdered her husband because
he was having an affair, she
received her life-threatening
injury in the course of killing
the private investigator hired
by the husband’s family to track
her down. None of which is
obvious until the reveal. This is
good storytelling.
A
s I have mentioned
before, entries written
from a child’s point of
view are common so
a story has to be exceptional to
stand out from the pack. Mrs
Peacock and the Broad Bean Baby
by Sarah Mackey did just that.
Starting with the title, which
is eye-catching and intriguing,
the tale has everything I enjoy:
an arresting voice, a good plot
that unfolds gradually, nicely
revealed characterisation and a
satisfying conclusion.
The young narrator has little
knowledge of how the world
STORY COMP
works, but is all too aware of
what is and isn’t allowed within
her own family. She is frequently
told there will be changes – all
being well. It makes it easy to
believe in her world view.
I particularly liked the image
of family mealtimes – Sundays
being a nightmare to endure.
From our perspective, the
‘fat’ sister is obviously pregnant,
but this is a house where an
unmarried mother is someone
to be vilified, not supported.
I like the way Sarah uses the
anti-abortion baby props to tell
the story. The narrator is not
allowed to touch the babies. She
does so anyway, but doesn’t like
the one the size of a broad bean:
…I say the Goodnight Prayer for
number five and then do the bad
chant three times, very fast inside
my head, for number six.
Freeya-borshun-ondee-manda-
WOMAN’S-rightto-choose…
The mantra appeals to the
young narrator. She has no idea
what it means, but says it to
herself as a form of quiet rebel-
lion against her mother.
When told her sister has to get
married to counteract the bad
thing she has done, this causes
the narrator some concern.
I think about Mrs Peacock and
the Lounge, the broken stand and
the broad bean baby.
I too have done a Very Bad Thing.
The storytelling and voice are
both excellent.
Lorraine is co-author
of The Writer’s ABC
Checklist (Accent
Press) and author of
children’s novel Vlad
the Inhaler (LRP)
Writers’FORUM #204 45
 SHORT STORIES
Fiction workshop
Our head judge uses reader entries to show how to improve your writing
A ghost of a theme
W
hen plotting, it
is a good idea
to know the
theme of your
story. If you know the theme, it
becomes easier to enhance the
storytelling as you go.
But for many writers, the
concept of theme is one that
sends them scurrying under
the desk! After all, why does
anyone need to know what
the author intended when he
or she sat down to write? The
reader will take their own
interpretations from the story.
True, but to give a story
the best chance of success the
author should at least try to
have a theme in mind. This
month I’ll try to dispel the fear
so many feel when asked about
the theme of their work.
What is a theme?
The theme is the underlying
message the author conveys in
the writing. This is something
that touches on the human
experience and gives the story
depth. A story can have more
than one theme.
If there isn’t a problem to be
solved, or a difficult goal to be
achieved, there is no reason
for readers to care about what
happens to the characters.
A theme binds together the
essential elements of the story
to enable readers to understand
the conflicts and experiences
that the characters undergo.
Moral vs theme
The theme is often confused
with ‘the moral of the story’.
The theme is an underlying
message that readers pick up;
a moral is an ethical lesson
that the author wants to get
46 Writers’FORUM #204
across. Take a story where a
thief is caught and punished:
the moral there is you should
not steal. That might also be
the theme of the story, but if
the thief was stealing to feed
his starving children in a war
zone, the main theme would be
parental love. The father will
do whatever is necessary to
protect his offspring.
As you can see, a moral can
be a theme, but a theme does
not have to be a moral.
How to present a theme
There are several ways a
writer can express a theme. He
could use the protagonist to
demonstrate how he feels about
the subject matter by showing
the character’s reaction to the
experiences within the story.
Similarly, the dialogue
between the various characters
can show or enhance the
underlying theme.
The narrative arc also helps
define the theme.
Examples of themes
To illustrate what is meant by
theme, I have compiled a list of
examples. This is by no means
exhaustive, but should give you
some ideas to use.
Crime doesn’t pay: this is
such a well-known theme that
I hesitated to include it. Bear
in mind this also applies to
anything where a bad deed
comes back to bite someone,
so could also be termed As ye
sow, so shall ye reap. This leads
on to…
Being your own worst
enemy: the theme here is
that a character has internal
conflicts, or a personality flaw
that, if left unchecked, will lead
to their downfall. However, if
the character overcomes this
defect, this will lead to…
Coming of age: this generally
refers to a progression into
adulthood, but also applies
when a character is changed, or
experiences personal growth,
due to events in the story.
Overcoming the odds: this
is similar to coming of age,
except the character has to
triumph in the face of adversity.
The character must find a
way to overcome seemingly
insurmountable odds.
The tragedy of death:
this can be explored in many
ways, eg the mystery of what
happens after death, or dealing
with grief or loss. Perhaps the
characters find a temporary
way to cheat death, but know
it has to be faced at some point.
with tutor
Lorraine Mace
Love conquers all: in terms
of theme, this means the love
for another is the direct or
indirect cause of resolving the
central conflict in the story.
The love can show itself by
sacrifice (giving up a loved
one and setting them free) or
by standing firm in the face
of adversity (staying with
someone to enable them to find
the courage or will to overcome
an obstacle).
Good versus evil: this theme
is often simplistically shown
with a righteous protagonist
taking on a corrupt antagonist,
but this needn’t be the case.
Evil can sometimes win, or
at least not be completely
defeated, as long as the
protagonist achieves a goal in
the process.
The different aspects of
money: it makes the world go
round, is the root of all evil,
the basis of all power, can’t buy
 If you’d like your Story Comp entry to be considered for a workshop, tick the box on the entry form or state it clearly in your email
happiness – and so on.
Man versus machine:
ie technology being man’s
ultimate destructive force.
Humanity versus nature:
this covers struggles against
the environment – usually a
fight to survive against almost
impossible odds. It serves
as a reminder of mankind’s
fragility. However, it can also
deal with a character’s fight
against his or her own nature.
Rebel against the world:
the theme deals with an
individual’s reluctance to
conform to society’s norms.
Family dynamics: loyalty,
rivalry and upbringing all have
a part to play when dealing
with this theme.
War and peace: it is
impossible to list all the
topics this theme covers but
it includes tragedy, romance,
futility, sacrifice etc.
The danger of writing
without a theme
The Laurels by Biddy Fraser is
a ghost story, or perhaps a tale
of the occult. It opens with
the narrator, Charles, giving
backstory about how he came
to be present at a haunted
house.
Charles works for an estate
agency and is told there is
something drastically wrong
with a property, to the extent
that none of the agents will
go out for viewings. Although
sceptical about the possibility
of there being anything in it, he
nevertheless experiences fear
while waiting for prospective
purchasers to arrive.
On hearing noises, he
rushes from the house into the
overgrown laurel shrubbery
where he experiences strange
noises and is disgusted by
a noxious smell. He runs
screaming from the shrubs into
the arms of the female half of
the viewing couple.
The owner of the estate
agency sets one of the office
staff to work on the history
of the house. Some 80 years three themes could have been what happened last year and know
earlier a murder took place worked into the story. I can’t go alone to this remote
and the body was dumped country house. I wonder if this
in the cesspit. The wife was Show don’t tell one, too, is empty due to a death.
suspected, although nothing Even if Biddy doesn’t elect to
was proven, but husband and use the themes mentioned Later in the story, after
wife had both dabbled in the above, the story needs a rewrite Charles has been terrified by
occult. to deal with the passive nature his experience, he exits the
Charles is later diagnosed of the storytelling. shrubbery and collides with
with a benign brain tumour The story opens with four the prospective purchasers.
and puts the experience down paragraphs of scene-setting Again, this is told not shown:
to this, but harbours a lingering where the narrator gives
doubt that it might actually background information on They’d arrived. Parked their car
have been a haunting. the estate agency, the partners on the drive and the sound I heard
running it, and his own place then was the banging of its doors.
There is a lot to like in this within this hierarchy – none And no, they weren’t impressed.
story, but there are aspects that of which is necessary to the Not by The Laurels and not in
could be improved, the most story. This is telling the reader the slightest by me. In fact, we
important of which is that it backstory rather than showing received a complaint which set
lacks a theme. the narrator’s situation. me back a bit, very nearly cost me
Charles doesn’t learn I would strongly suggest a promotion. They – that is, Mr
anything or experience Biddy start her story with a and Mrs Harris, told Press I’d
emotional growth. The house slightly altered version of a ‘shot out from the laurels, gabbling
is left to fester with its grisly paragraph that appears towards like I’d completely lost my mind’.
secrets, so nothing is achieved the end of the first page. Then, apparently, I’d clung to Mrs
in that respect. Harris and wouldn’t let go. He
I feel that, had Biddy decided And even now I’m none too husband was finally forced to prise
on the theme of her story, keen on fetching up solo at the me off.
she could have enhanced the more remote of our properties in All very, very embarrassing.
reader experience considerably. the country. Especially if they’re
This is a tale that could have empty due to a death. Can’t avoid As a reader, I would like to
encompassed good versus it completely, but I do my level experience this rather than be
evil – Charles finds a way best. told about it.
to overcome the evil spirit
of the murderer. Or it could This tells the reader that I heard the sound of car doors
have dealt with being your something has happened to and fled towards it. I could feel
own worst enemy – Charles’s make the narrator feel this way. the evil sucking me back into the
arrogance in refusing to accept It could be slightly rewritten laurels. I had to get free.
the word of his colleagues puts to provide a stronger opening I ran into the arms of the
him in danger, which then along the lines of: woman.
enables a theme of overcoming ‘Help me, don’t… oh my God,
the odds to come into play. I pick up the property details please, please.’
With some plot tweaks, all and my hands shake. I remember The man dragged at my arms,
but I clung to the woman. I
couldn’t let that thing get me.
Finding the theme in your story Finally, the man’s grip tightened
You might start writing with a theme or themes in mind, but and he threw me to the ground.
sometimes they only become apparent as the story progresses, ‘Leave my wife alone, you
or even when you start to edit. If this is the case, these maniac.’
questions could help you to identify themes in your work.
My example could be much
■ What is the central conflict that drives the protagonist? improved, but it gives an idea
■ What does he or she achieve by the end? of the difference between
■ Analyse the storyline (high and low points) in relation to showing and telling.
the above. How do the character’s actions reflect on his or her
growth?
■ What does this say in relation to humanity as a whole? Lorraine Mace
is the author of
The answers should give you an idea of the themes running children’s novel
through your story. Once you have identified them, you should Vlad the Inhaler
then work on enhancement edits. Are there areas that detract (LRP) and also
from the theme? Are there sections that could be strengthened the DI Paolo
to clarify the theme – without overdoing it? Storey crime
fiction series
Writers’FORUM #204 47
 TRAVEL WRITING

TRAVEL WRITING PART FOUR

Business matters
Solange Hando concludes her series for the occasional travel writer

H
ave you sent off your travel
piece? Brilliant. But don’t sit
and wait for a response. Uncross
those fingers and keep typing –
that’s what professionals do.
First, get on with your market research
and prepare new queries for other
publications. For instance, I’ve just
come back from Corsica and sent off an
article on trekking – but now who might
be interested in an Ajaccio city break,
Corsica’s food and wine, or the best
beaches or archaeological sites?
I have images, I have facts, I can
research, no problem…
Then, as soon as your feature has been
accepted, feel free to suggest one or two
futher ideas. Your new editor has pages
to fill.
Likewise, when your piece has been
published, thank the editor, say how lovely
it looks (everyone likes a compliment)
and unless you already have another
commission, send a new query.
editors change their mind. Otherwise,
Rates before you walk away, think how the
How much should you charge for your exposure would benefit your profile and
work, bearing in mind travel content and
If there is no contract, increase your chances of work. No fee is
images are usually treated as a package? state exactly what always disappointing but not necessarily
There’s no easy answer but to get an a ‘no way’.
idea, you might look up the NUJ rates and rights you are offering.
advice published on the following sites: Be firm, be clear Rights
What rights are you offering for content
■■ www.londonfreelance.org/rates and images? All Rights means you cannot
■■ www.londonfreelance.org/feesguide sell the feature or photos anywhere else
■■ But at the same time, also consider ever again, while First Rights allows you to
Although these sites list what are said what you are selling: how unique is your do so after the initial publication. Specify
to be minimum fees, there is no guarantee story, how amazing are your pictures? if this applies to Britain, Canada, Australia
you can secure them. A number of factors Is there a celebrity connection? Or is it a etc, as this will leave you free to publish
need to be considered: heart-breaking human interest tale (there elsewhere at the same time.
are plenty related to travel)? That could get Most writers consider All Rights
■■ The size of the publication or publisher: your fee into four figures – but it’s rare. unacceptable unless an exceptionally high
what can they afford to pay? Are you fee is offered. My approach is slightly
dealing with a glossy upmarket magazine If you are offered a low fee for your different: I always write for a specific
or your local paper? A high-circulation first piece, I suggest you accept, then after market and the angle, style and format
magazine which might do very well from another one or two, enquire tactfully about would not fit anyone else (perhaps with
related advertising or a small publication an increase. But remember that editors the exception of travel interviews).
unlikely to benefit in this way? work on restricted budgets and it may be However, it is different for images. I take
■■ Any competition from illustrious as difficult for them as it is for you. numerous shots so I have a wide range
writers? Their name on the cover will How about no pay at all? If you belong available for First Rights – but I would
increase sales, but yours probably won’t, to a professional association, mention it never sell All Rights.
so don’t expect the same fee. and you might be surprised how some Consider your options and if you have

48 Writers’FORUM #204

a contract, read every line. If unsure, ask
before you sign.
If there is no contract, state exactly what
you are offering, don’t just rely on typing
FBSR (first British serial rights) at the
bottom of the page. It may be forgotten,
deleted or even unnoticed. Be firm, be clear
and be polite. Act like a pro.
Networking
Freelance travel writers need as much
exposure as they can gather and social
media is a good place to start. Tell
everyone about your latest or forthcoming
adventure, set up a blog and post the
relevant links. Whether it’s Blogspot,
Wordpress or a personal website, make it
interesting and keep it short.
Check other travel blogs, see which ones
appeal to you most and follow up in your
own way.
Next join a travel writers’ association so
you can network and exchange ideas with
like-minded people, learn about relevant
events, get known to industry partners.
Here are just a few:
■■ travelwriters.co.uk – for published
writers; small membership fee.
■■ bgtw.org (British Guild of Travel Writers)
– professional writers, fee £160.
■■ travmedia.com (The Travel Industry’s
Global Media Network – just register
online.
■■ travelbloggersassociation.com –
reasonable fee, minimum content required.
■■ internationaltravelwritersalliance.com –
world’s largest association, reasonable fee.
Some organisations will provide a press
card. Otherwise design your own business
card (try vistaprint.co.uk) including
personal contacts and memberships. I
prefer travel ‘writer’ to ‘journalist’, which
in my experience arouses suspicion in
some countries.
Now attend as many meetings as
possible, talk to other writers and industry
workers, operators, tourist boards and so
on. Hand them your business card and
ask to go on everyone’s list so you can be
informed of any new developments.
Then if you can, visit one of the
London travel shows, for instance the
Holiday & Travel Show held at Olympia
early in the year, or the World Travel
Market at Excel in early November. It is
your chance to meet experts, writers and
sometimes editors.
Themed shows are held throughout
the year – cruise, adventure, business,
British Tourism and Travel… Most travel
writers’ associations will publish an
annual list.
PERFECT
for WRITING
Press trips
Fancy a free press trip? Let me start with
RETREATS
a warning: these are not holidays, it’s
business and hard work, every minute
accounted for from dawn until late.
These days all hosted trips require a
commission upfront, preferably from a
high-circulation publication with the right
readership for the operator – age, budget,
interest and so on. Two commissions are
better than one. Print is preferred but can
be backed up with an online commission, The Mount
depending on the number of page views
for the site.
Durlston, Swanage
Press trips are held in low or mid‑season,
usually two nights in the UK, three in
Europe and four elsewhere, although you
can request extensions at your own cost.
So how do you get invited on a group or
individual trip?
If your name is on the PR list, you may
be invited to express your interest in a
forthcoming trip. Apply once you have
a relevant commission, but you must
be convincing – there will be plenty of
competition and the group may be small.
Accepted? Great, but when you are
there, act like a pro – your reputation and
future invitations depend on it. Show
Large reception areas for group
interest and be willing to compromise. workshops and socialising
Don’t complain or gossip and avoid
chasing up commissions. Any editor on
your trip is busy, just like you, so follow up
on your return. Thank your hosts for their
hospitality and forward copies of your
published work.
Alternatively you could contact a tourist
board, via their press PR, and request an
individual trip, once you have secured a
commission. Attach the commissioning
letter in your email, explain exactly where
you need to go, what you need to do and
see, and simply ask for help.
If accepted, make sure you ascertain Six bedrooms with twin or
exactly what your host is offering: flights, kingsize beds and writing desks
local transport, food, hotel, entrance fees,
guides and so on. Don’t take anything for
granted.
If neither works out, there is a final DIY
way where the arrangements are all up
to you: approach airlines, rail companies,
hotels, restaurants, museums and so on,
via their press or marketing department.
Be as reasonable as possible (don’t ask for
a first-class flight or a full week in a hotel)
and offer credits you can guarantee. You
may not get freebies but a discount helps.
Now you’re all set and I wish you the
very best on the road to success. Surrounded by a private garden
and Purbeck’s inspirational scenery
• Solange Hando is the author of Be a Travel
Writer, Live your Dreams, Sell your Features, To book The Mount for
available on Amazon
your writing group, please visit
www.themountswanage.co.uk
or call 01929 424163
 BRAINSTORM

Writers FORUM POETRY COMP

#204: WEATHER
Whether the weather be cold
Or whether the weather be hot,
We’ll weather the weather,
Whatever the weather,
Whether we like it or not.
Anon

T
he theme for the
poetry competition
this month is weather.
And whether or not
you choose to enter the comp,
here are some things you might
like to consider when writing
about weather.

Homophones

The first thing you might like

to explore is words that sound
alike but are spelled differently
and have different meanings.
The technical name for these
is homophones. For example,
weather and whether.

■■ Weather (noun): the state of the

atmosphere at a particular place
and time as regards heat, cloud,
sun, wind, rain, etc; (verb) to wear
away or change the appearance or
texture of something by exposure
to the atmosphere; to survive a
hardship.
■■ Whether: doubt or choice
between alternatives; enquiry
or investigation; indicates that a
statement applies whichever of the
alternatives mentioned is the case.
You might also like to
explore homophones that can
be associated with weather,
for example, vane, vain and
vein. And if you need some
inspiration to get you started:
■■ A weather vane, wind
vane or weathercock (other
common motifs include ships,
arrows and horses) is usually
erected on the highest point
of a building and is used to
show which way the wind is
blowing. The weather vane
was independently invented
in ancient China and Greece
around the same time during
the second century BC. The
word vane comes from the Old
English fana meaning flag.
■■ Can the weather be vain? If
so, how might you portray the
weather’s vanity? What feature
is the weather most proud of
and why? Does this vanity or
lack of it have consequences?
Here you might want to
ponder the statement, Vanity
of vanities; all is vanity, which
occurs at the beginning of the
Book of Ecclesiastes in the Old
Testament.
■■ Does the weather have
veins? If so, what flows through
them? And if the weather
has veins presumably it has
a heart? And if it has a heart
presumably it has lungs?
Weather eye
Talking about the weather
having a bodily manifestation,
what exactly might a weather
eye be? Is the weather like a
Cyclops with a single eye?
What does this eye look like
and what can it see? For
example, might a weather eye
see through solid objects or
into the future and if so, what
might the weather forecast?
Another ‘bodily’ question
you may want to ask is can
weather be beaten or does it do
the beating?
The good, the bad and
the ugly
The long, dull, monotonous
years of middle-aged prosperity
or middle-aged adversity are

50 Writers’FORUM #204
 You can contact Sue at poetry@writers-forum.com
with poetry editor
Sue Butler
excellent campaigning weather
for the devil.
CS Lewis
Gardeners might find a drop
of rain good but it might be
seen as bad by the organisers
of a church fete. Skiers will find
a blanket of snow beautiful
but even a light dusting can
unnerve a frail old man who
needs to go shopping.
Explore the different types
of poetic techniques you may
have to use to convey weather
that is good, bad or ugly.
Also explore how different
types of weather may be
described, ie positively or
negatively in different regions
of the world and in different
cultures.
Literal or otherwise
For there is no friend like a sister
In calm or stormy weather;
To cheer one on the tedious way,
To fetch one if one goes astray,
To lift one if one totters down,
To strengthen whilst one stands.
Christina Rossetti
If you choose to write about
a storm, does it have to be a
literal storm? Could it be
a metaphor? Remember, a
metaphor describes an object
or action in a way that is not
literally true but that helps
explain an idea or make a
comparison. It states that
one thing is another thing
for the sake of comparison or
symbolism.
Poetry feedback service
If you’d like more detailed and targeted feedback from Sue, you can
purchase an extended critique of three poems for £35. Email Sue
at poetry@writers-forum.com for details.
The unexpected
Climate is what we expect.
Weather is what we get.
Mark Twain
When writing about the
weather it is all too easy to
repeat things that have been
said many times before… many,
many times before. So be
mindful of how to ensure your
poem includes something the
reader will not be expecting.
Be imaginative
Conversation about the
weather is the last refuge of
the unimaginative.
Oscar Wilde
Take great delight in proving
Oscar wrong.
And finally...
Still seeking inspiration? Here
are two quotes. Try to use
every word from the first in a
sonnet about the weather:
Be thou the rainbow to the
storms of life!
The evening beam that smiles the
cloud away,
And tints to-morrow with
prophetic ray!
Lord Byron, The Bride of Abydos
Do the same in a haiku with
the second quote:
We live in a rainbow of chaos.
Paul Cézanne
HOW TO ENTER
Writers’FORUM
POETRY COMP
Enter our themed poetry contest
with a first prize of £100
and a Chambers Thesaurus
O
ur monthly themed poetry competition has a
first prize of £100 and a Chambers Thesaurus
for one winner. A number of runners-up may
also be published, depending upon the nature of the
contest and available space. The entry fee is £7, including
a brief, helpful critique from poetry editor Sue Butler.
You can purchase an entry by following the link on the
Writers’ Forum website – www.writers-forum.com
■ Entry is strictly by email only, one poem per email.
■ The fee is £7 per poem, which includes a short critique from
poetry editor and judge Sue Butler.
■ Each poem must be a maximum of 40 lines.
■ We want to encourage new writing. Poems must be
your original work and previously unpublished, including
newspapers, magazines, books, pamphlets, websites etc.
The judge’s decision is final and no correspondence over results
will be entered into. By entering, entrants agree to these rules
and for their entries to be published in Writers’ Forum.
POETRY COMP 204: WEATHER
Deadline: 12 noon GMT on Wed 17 October
Assignment: Write a poem on the theme of ‘Weather’
using Sue’s advice on these pages.
How to enter
1 Pay online by following the link on our website
at www.writers-forum.com/poetrycomp.html
2 Send your entry either in the body of your email or attached
in a Word-compatible document (.doc/.docx/.rtf). PDFs are
also allowed if the format of your poem has to be precise.
3 Give your name, address and phone number at the end. Add
your web order confirmation number (from the email sent to
you after you pay online), plus a brief biography about yourself:
age, occupation, what inspired you, etc. And be ready to email
a nice author photo if you win!
4 In the subject line write Poetry Comp #204: followed by your
poem’s title.
5 Send your email to poetrycomp@writers-forum.com
by the deadline above.
Repeat steps 1 to 5 for any additional poems you wish to
enter, one poem at a time.
Good luck! The results will be published in issue #206,
on sale from 15 November 2018.
Writers’FORUM #204 51
 POETRY

Poetry comp results with poetry judge Sue Butler

£100 winner
A Mekong Day
Jill Ruddock,Tunbridge Wells, Kent
Clouds cling to the mountain tops
until the sun
fatally weakens their grip.

Scintillas of sun give warning

of dangers lurking
below the seemingly serene surface.

Banana trees bunch together

a tell-tale sign
of vertiginous villages close by. Jill Ruddock, this month’s winner, calls her poem A Mekong Day. It is
not ‘the’ day, ie a specific day, it is just one of many, and in this subtlety
Swamp buffalo wallow happily lies much of the poem’s sense of unease.
in muddy waters As you read the poem, notice how each stanza uses two longer lines
resting from earlier labours. encasing a shorter line. Also notice how each stanza is a statement
the narrator presents as a fact and also as a tableau for the reader to
Lilting laughter of children observe and then contemplate. The narrator does not get involved,
who wave they just report. This is a technique you might like to explore this
at the long boat rushing by. month in your own poetry.
The one-sentence, one-subject stanzas give the poem a harsh and
Women wash clothes on rocks thought-provoking starkness and allow the narrative to develop at an
which protect appropriate pace. Then, in the final stanza, a full stop appears at the
the bank from the mindless river. end of the second line. After eight stanzas without a full stop this tiny
punctuation mark packs a real punch. It forces the reader to pause
A speedboat slices its way before facing the final statement.
through the water
and the calm of the afternoon.
Highly Commended
The sultry sun slowly subsides
leaving behind Returning to titles, the title of the highly commended poem A Quiet
a quickly reddening sky. Lake (44 years later) by Emily Brett-Greenacre, from Downham Market
in Norfolk, presents the reader with a lake that is quiet. Nothing earth-
Dusk descends swallowing shattering about that. But then, in brackets, nonchalant, as if it is an
all traces of colour. afterthought, is the information that the quiet lake is being presented
Blackness now covers the world. to the reader 44 years later. Later than what? Who has counted the
44 years? Is it 44 years from today, 2018, or 44 years from another
date? Three words in brackets that raise so many questions.
About the poet Jill Ruddock is 68 and is now retired after What is clever about this title is that once the reader starts asking
working in the city for 30 years. She enjoys travelling, reading, questions they will want to read the poem and find out the answers.
watching ballet and opera, eating out and socialising with friends. To go back to the fishing metaphor, the fish is hooked.
She has been writing poetry for about eight years. The poem opens

I
A lake
am delighted to report that many poets entering the competition almost like
this month have given serious thought to the titles of their poems. any other –
At the risk of stating the obvious, the title of a poem is important. smell of dirt,
It is a marketing tool. It is bait and a hook. So whenever you are smell of dust,
choosing a title for a poem, do take plenty of time to ponder whether black flies ready to bite,
the title is working hard to attract the widest readership possible. man-made pathways

52 Writers’FORUM #204

Each month our
winning poet wins
£100 and a £40
Chambers Thesaurus
The intrigue created in the title is maintained and the reader’s
interest is kept, which is essential because of course, no mater how
great the title, if the opening lines are not of the same quality as the
title the reader will go elsewhere.
Another great title appeared above the highly commended poem
Fresh voices by Dave Shonfield, from London. With poetry being all
about keeping your voice fresh, alive and exciting, this poem opens
by asking:
If we could change our voices like we can change our clothes,
a different pair of specs, on that Roman nose.
If we could clean our voices, like we can clean our teeth,
discarding the twang of our native heath;
a make-over for the tonic sol-fa,
would we recognise our new persona?
Poems are great places to try out new voices, ideas and new
personas, so as you are writing this month give some thought to the
stanza above and have fun exploring what might be possible within
your own sphere of creativity. If you can aim for:
No more blurred speech, or adenoidal cadence
Clear pronunciation in dulcet radiance.
Another way of using a question as a title can be seen in the
highly commended poem The Norm by Peter Hickman, from
Purley in Surrey. There is not a question mark in sight but before
they have read the first line, most readers will be wondering about
the concept of normal. Who decides what is normal? Does being
normal matter?
The opening line of this poem claims We’re creatures of habit
/ Creatures who will… and immediately the reader may agree or
disagree. Stanza two explores reason and stanza three passion. The
poem claims it’s the norm / that helps us to accept… and once again
the reader may agree or disagree.
Using questions as titles can be very effective, so go on, write a
poem this month that poses a question in the title – either directly
or indirectly.
Poems that might have been
Here are three suggestions or questions about the
winning poem. Use them to explore the different
directions the poem might have taken.
■ Rewrite A Mekong Day from the point of view of one of the
people, plants, creatures or things in the poem, eg a banana tree or
whoever is in the speedboat. If you feel philosophical, how about
letting the calm or the blackness narrate?
■ Write a nine-stanza poem where stanzas one to eight are a single
sentence. Then, in the final stanza, change the punctuation. How
many different impacts can you create?
■ Write about a single day: 24 lines, one for each hour.
POETRY
EXPERIMENT
ART AND LITERATURE
In the following passage from Jane Eyre by Charlotte Brontë, Mr
Rochester is insisting Jane show him her portfolio of artwork:
He spread the pictures before him, and again surveyed them
alternately…
These pictures were in water-colours. The first represented
clouds low and livid, rolling over a swollen sea: all the distance was
in eclipse; so, too, was the foreground; or rather, the nearest billows
for there was no land. One gleam of light lifted into relief a half-
submerged mast on which sat a cormorant, dark and large, with wings
flecked with foam: its beak held a gold bracelet, set with gems, that
I had touched with as brilliant tints as my palette could yield, and as
glittering distinctness as my pencil could impart. Sinking below the
bird and mast, a drowned corpse glanced through the green water;
a fair arm was the only limb clearly visible, whence the bracelet had
been washed or torn.
The second picture contained for foreground only the dim peak of
a hill, with grass and some leaves slanting as if by a breeze. Beyond and
above spread an expanse of sky, dark blue as at twilight: rising into the
sky was a woman’s shape to the bust, portrayed in tints as dusk and
soft as I could combine. The dim forehead was crowned with a star…
Write a poem about either the drowned corpse or the woman
crowned with a star but in earlier circumstances and different
weather.
As you write, rather than simply saying it is raining, snowing
or sunny, what evidence can you show the reader?
And what does the weather tell the reader? How does
anything you say about the weather enhance the reading
experience?
POETRY WORKOUT
Do underworld inhabitants wear underwear? Go
underground and undermine accepted wisdom.
1 Be underhand, under the thumb or get under someone’s
feet. Crawl under the skin of something and ferret around.
Alternatively be the hand, the thumb, the feet or the skin.
(Perhaps even the ferret.)
2
Explain why something is under threat or underused.
3
Explore the difference between an undertaker and an
undertaking.
4
Write a poem (three four-line stanzas) about being under
the weather.
Writers’FORUM #204 53
 DIRECTORY

Authors! Moonwriting
Would you prefer to be
A range of services at
writing and creating your
stories and articles than reasonable prices incl.
typing and formatting? Word processing &
Manuscript critique
Sarah.purdue@sky.com
Our experienced and dedicated
staff offer: 2018
Relax & Write www.moonwriting.co.uk
* Audio Services * Copy Typing Weekends
Services * Business Support * 116-18 November at Lilleshall
Formatting * Publishing Shropshire
* Website Design for your book ‘Getting Away with Murder’ with Professional Editing
Stephen Wade
Find out more about our friendly ‘Writing Creative Non-Fiction’ with and Mentoring Service
Simon Whaley
efficient service. Call Julie or Tina ‘Write from the Top : The Cream of for fiction writers.
on 01367 246003. Poetry’ with Alison Chisholm
info@mypavirtualservices.com ‘Write that Romantic Novel’ with Kate
Society of Authors member, published
Walker
www.mypavirtualservices.com Informal & fun our novelist, professional editor and experienced
creative writing tutor with PhD.
courses suit all levels.
All inclusive fee
ONLY £249 & £255 Detailed feedback with practical advice and
BOOK Book Early
Pay by instalments
suggested edits that help manuscripts
reach publishable standard.

PUBLISHING Free Parking

Contact Lois on
Competitive rates and introductory offers
for new clients
Authors invited to submit Tel 01454 773579
manuscripts all categories E-mail loisbm@aol.com For more details please contact
www.malagaworkshops.co.uk Tracey Iceton
including poetry
traceyiceton@hotmail.co.uk
New Authors welcome
A.H. STOCKWELL LTD, www.trywriting.co.uk
Dept. 857, Torrs Park,
Ilfracombe,
Devon, EX34 8BA.
Tel 01271 862557
www.ahstockwell.co.uk
Publishers for over 100 Years To The Last Word
Editorial Services

who write
f or w omen ‘Gary Dalkin is a thoughful and highly

m ag azine professional editor..’ Arthur.C.Clarke

Award-winning author Tricia Sullivan
the Gary has edited award-winning/
bestselling writers including, Cherith
Baldry (Erin Hunter), Eric Brown,
Ken MacLeod, Simon Morden, Adam
Roberts, Justina Robson, Lisa Tuttle.

Enquire for an edit or critique of your

manuscript.
of writing.
sychology
ss and p Tel: 01202 579640
t h e busine Mob. 07552 220438
rclass in gary.dalkin@live.co.uk
maste Subscriptions start at £24.95 www.tothelastword.com
rterly
A qua mslexia.co.uk/subscribe
0191 204 8660

For advertising, call Wendy Kearns on 01392 466099 or email advertising@writers-forum.com

 Send your event listings three months ahead to diary@writers-forum.com
Literary diary
FESTIVALS
Bath Festival of Children’s
Literature
28 September – 7 October
One of the UK’s largest festivals celebrating
children’s books and reading, Bath celebrates its
12th anniversary with over 100 events. David
Walliams, Jeremy Strong, Lauren Child, Terry
Deary and Cressida Cowell are all taking part.
www.bathfestivals.org.uk
Small Wonder Short Story
Festival, Lewes
28-30 September
This annual celebration of short stories has
workshops and conversations with Ben Okri,
Kate Mosse, Miranda Richardson, Catherine
Taylor, AS Byatt, Louise Doughty and others.
www.charleston.org.uk/small-wonder
Henley Literary Festival
29 September – 7 October
This renowned festival hosts around 150 events
with a host of authors and celebrities taking
part, including Sebastian Faulks, Pam Ayres,
Clare Balding and Anthony Horowitz.
www.henleyliteraryfestival.co.uk
Birmingham Literature Festival
4-14 October
This festival has been a staple of the city’s
autumn calendar since 1998 and is now a
10-day long book bonanza. Previous year’s
events have included Jess Phillips, Meera Syal,
Roger McGough and Liz Berry.
www.birminghamliteraturefestival.org
Althorp Literary Festival,
Northampton
5-7 October
Julian Fellowes, Dan Snow, Simon Jenkins, Allison
Pearson and Tracy Borman help celebrate the
written word, against the backdrop of one of
England’s most beautiful, private historic houses.
www.spencerofalthorp.com
Cheltenham Literature Festival
5-14 October
An action-packed 10 days with Jacqueline
Wilson, Michael Morpurgo, Anthony Horowitz,
Greg James, Philip Pullman and more.
www.cheltenhamfestivals.com
Guildford Book Festival
6-14 October
Surrey’s largest literary festival has a full line-up
of speakers, from household names such as Jo
Brand and Anton du Beke to bestselling authors
Matt Haig, Kate Mosse and Gill Sims.
www.guildfordbookfestival.co.uk
Laura Purcell is in her
home town of Colchester
Mere Literary Festival, Wiltshire
8-14 October
Paul Hooley, Trevor Stubbs and Julia Grigg are
among the authors taking part in this festival.
www.merelitfest.co.uk
Thame Arts and Literature
Festival, Oxford
18-21 October
With a host of art events packed into one
weekend, this festival has assembled a feast of
delights to indulge your senses, from author
talks to music, literature, plays, readings and
debates. There is something for everyone.
www.talfestival.org
Harrogate Literature Festival
18-21 October
A long weekend at The Crown Hotel with
names from the worlds of comedy, history,
sport and literature, including Conn Iggulden,
David Starkey, Dr Jane Hawking and Gill Sims.
www.harrogateinternationalfestivals.com
Yeovil Literary Festival
25-29 October
Kate Morton, Adam Frost, Michael Parkinson,
Ruby Wax and Alison Weir are among this
year’s well-known literary figures, comedians,
celebrities and exciting new writers.
www.yeovilliteraryfestival.co.uk
Bridport Literary Festival, Dorset
4-11 November
BridLit goes from strength to strength and
its programme this year has something for
everyone, including Gill Meller, Kate Hubbard,
Simon Worrall and Patrick Gale.
www.bridlit.com
Southwold Literature Festival
8-11 November
Part of the Ways with Words series of literature
festivals. The small Suffolk seaside resort hosts
events with Julie Summers, Salley Vickers and
Blake Morrison, among others.
www.wayswithwords.co.uk
DIRECTORY
Kate Medhurst brings you
the pick of next month’s
writing and book events
Folkestone Book Festival
16-25 November
An eclectic range of topics from healthy eating
to astronomy and fighting plastic, with Kit de
Waal, Jenni Murray, Alison Weir and more.
www.folkestonebookfest.com
AUTHOR & BOOK EVENTS
Laura Purcell, Colchester
1 October, 7pm
The award-winning Colchester author talks
about her new Gothic mystery, The Corset.
Tickets cost £2 and include wine and nibbles.
For more details call 01206 561307.
Sarah Perry, London
2 October, 6.30pm
The author will be at the French Protestant
Church, Soho Square, discussing her new novel
Melmoth with the Guardian’s Alex Clark. Tickets
cost £20 and include a copy of the book.
For more details call 020 7437 5311.
Tom Fletcher, Bath
6 October, 11am-12pm
The bestselling children’s author is at The
Forum for a magical musical adventure
with the Creakers and everyone’s favourite
dinosaur, the Christmasaurus! Tickets cost £8.
For more details call 01225 463362.
Jacqueline Wilson, London
7 October, 11am
The author celebrates the publication of My
Mum Tracy Beaker with illustrator Nick Sharratt
at the Royal Geographical Society. Tickets £19.
For more details call 020 7591 3100.
Bernard Cornwall, Newcastle
8 October, 7pm
The bestselling author will be at Tyneside
Cinema talking about his latest novel, War of
the Wolf. Tickets cost £8.
For more details call 0191 261 7757.
Adele Parks, Yarm
16 October, 7pm,
The bestselling author returns to Waterstones
with her new novel, I Invited Her In. Tickets cost
£3, redeemable against purchase on the night.
For more details call 01642 939720.
Ian Rankin, Sheffield
18 October, 7.30pm
The author is at Victoria Hall Methodist Church
with a panel of crime experts from forensics
to detectives, to reveal what really happens in
a murder investigation. Tickets from £17.
For more details call 0114 272 1749.
Writers’FORUM #204 55
 DIRECTORY
INSPIRATIONAL WRITERS RETREAT
SOUTH WEST FRANCE
Advertise AUTUMN VOICES
Writers talk about creativity in later life
in A historical and culturally rich area of the
Languedoc Roussillon. The property is set
Writers’ Forum This book is just amazing.
Nobody who reads it
in the seclusion of its own grounds and
surrounded by open countryside. A converted
To talk about can doubt its central
significance. There is 18C farmhouse providing accommodation
advertising hardly a page when I
wasn’t brought up short
for self-catering holidays, bed and breakfast,
family/group holidays, workshops or retreats.
call Wendy Kearns on by an insight memorably
expressed. A treasure trove.
There are two houses available, one sleeps 5,
the other house sleeps 4 and an apartment
01392 466099 (John Killick, poet &
former chair of National with one double room. Accommodaton is
Or email Association of Writers in
Education)
spacious with fully equipped kitchens.

advertising@ Seasonal Swimming Pool, Tennis Court, lawns

and gardens
writers-forum.com Order through: www.autumnvoice.co.uk
It is especially suitable for anyone
wishing to run workshops or for writers
wishing to find peace, quiet and inspiration
in beautiful surroundings.

Written a novel?
Literary Self-publishing?
Consultant Submitting to agents?
Friendly, professional
support for writers. Experienced editor and writer
Karol Griffiths providing copy/content/line
Editor & Writing Coach. editing, proofreading and
Years of Experience working with beta reading. Feedback and
Bestselling Authors, suggestions on all aspects of your
Screenwriters, Playwrights and
New Writers. manuscript. Help with synopsis
writing, query letters, blurbs, self-
publishing and promotion.
Excellent rates
For further information please contact:
alisonwilliamswriting.wordpress.com Helen Tel: 0033 (0)4 68 69 10 99
Email: alisonewilliams@sky.com
Email: maneque@wanadoo.fr
Tel: 07891 065 012

Reasonable Rates
For more information visit: AUTHORS! WRITERS! LOOK!
www.karolgriffiths.com L
or call: 07942 552 050 One-Stop Shop for ALL Your Writing Needs

Writing Typing Proofreading Editing

Typesetting Formatting for Kindle + Print
Editorial & Full Self-Publishing Help!
Critique Service michelleemerson.co.uk / 07887685922
Realise your potential... Friendly, Affordable, Professional Support for Serious Writers

Award Winning short story writer and published

novelist, Debz Hobbs-Wyatt provides copy editing,
proof reading and in-depth critique on short stories Janet Williamson
and novels. Advice on narrative, style, voice, plot, Creative Writing and Editorial
pace, dialogue etc., with suggested revisions and Advisory Service
ideas for placement. Affordable prices. Prizes for winners Friendly Efficient Service at
Free or discounted follow-up after revision www.writetime.org affordable rates.
Check out her website for more info@writetime.org
information www.debzhobbs-wyatt.co.uk www.williamsonswordsuk.com
Or email or please phone
writer@debzhobbs-wyatt.co.uk 01709 526071

For advertising, call Wendy Kearns on 01392 466099 or email advertising@writers-forum.com

 Send your event listings three months ahead to diary@writers-forum.com DIRECTORY

New courses
HELPFUL NEW BOOKS

Children’s Writer’s & Illustrator’s

Market 2019 by Robert Lee Brewer
(Writer’s Digest
Books, £22.99)
includes more
than 700 listings
for US book
publishers,
magazines, agents,
art reps and
more in American
children’s book
publishing. It
contains exclusive
interviews with
authors and this year features four New
York Times bestsellers as well as articles by
respected publishing professionals. Essential
for anyone looking to publish in the US.
Published 26 October.

Putting the Science in Fiction: Expert

Learn about creative
non-fiction in Shropshire
RESIDENTIAL COURSES
Writing Popular Fiction,
Ty Newydd, Gwynedd
15-19 October
During this course you will develop the building
blocks for your novel, looking at plot, character,
setting and point of view. Tutorials and exercises
will help you cultivate the skills to complete
and polish a manuscript to a publishable
standard. The tutors offer constructive advice
on avoiding plot holes, saggy middles and other
writing pitfalls. It costs £395 including shared
room accommodation at Ty Newydd (above),
a Grade II listed building with a rich history.
www.tynewydd.wales
Writing Creative Non-Fiction,
Newport, Shrops
16-18 November
Award-winning writer and bestselling author
Simon Whaley leads this course, which covers
everything from discovering the history of
creative non-fiction to questioning others
and exploring the difference between quotes
and dialogue. It takes place at the Lilleshall
Conference Centre and costs £255.
www.malagaworkshops.co.uk
ONLINE COURSES
Fiction Skills
29 October – 25 November
This four-week course guides you through
key techniques for building convincing story
worlds, and explores how different writers use
location to bring their characters and stories
alive. It is tutored by Tom Bromley, takes place
online and costs £120.
www.faberacademy.co.uk
Malcolm Gladwell Teaches
Writing
Available at any time
In this course Malcolm Gladwell, author of
Blink and Tipping Point, shows you how to distil
complex ideas into powerful narratives. He
guides you through the writing process with
video lessons and assignments. It costs £85.
www.masterclass.com
ONE-DAY COURSE
Travel Writing: a Taster, London
13 October
You love travelling and taking photos but how
Advice for Writing with Authenticity
in Science Fiction, Fantasy, & Other
Genres by Dan Koboldt (Writer’s
Digest Books,
£14.99) brings
together scientists,
physicians, engineers
and other experts
to help you
understand the
basic principles
of science,
technology and
medicine that are
frequently featured
in fiction. Avoid
common pitfalls
and misconceptions to ensure technical
accuracy, and write realistic and compelling
scientific elements that will captivate
readers. It helps you brainstorm and
develop new science and technology-based
story ideas. Published 26 October.
do you decide what to write about and which
pictures will sell? This City Lit course based
in Covent Garden will help you focus, and give
you the skills you need to approach editors
with confidence. It takes place over one day
from 10.30am until 4.30pm and costs £59.
www.citylit.ac.uk
SHORT COURSE
Getting Started: Beginners’
Fiction
2 October – 18 December
This 12-week course led by Keith Ridgway
aims to foster a lively atmosphere in which
discussion and the spirit of engagement create
a supportive and inspiring environment. It takes
place in the Faber offices on Tuesday evenings
between 7pm and 9pm and costs £995.
www.faberacademy.co.uk

Writers’FORUM #204 57
 MOTIVATION

Emily Cunningham of The Write Factor

publishing agency helps you find the way
forward with your writing

THE

MENTOR
How can I loosen up?
My writing seems too controlled and rigid.
I can’t help tinkering at a first draft, even
though I know I’m only succeeding in
making it more and more dense until it’s
so complicated and tightly wound that
it’s unreadable. What do you recommend?
Christina, Peterborough

T
he temptation to re-read and fiddle
with what you’ve just written is
irresistible, isn’t it? If there was an
app that tracked how long I spent reading
rather than writing a work-in-progress I’m
sure the results would be dismaying.
There are plenty of reasons why it’s
justified – at least, that’s what I tell myself.
Of course, you have to read your work
when you’ve just returned to it from a
break; then there’s the need to refresh your
memory after a daydream, the hope of
gaining inspiration when you grind to a
halt, even just to check for repetition and
make sure you aren’t repeating yourself…
I’m sure you can come up with many more
reasons of your own, Christina.
And each time you revisit your work,
the urge to tweak is irresistible. The
only problem with this is that, as you’ve
observed, it can interrupt the natural flow
of the writing. You become too involved
with the nuts and bolts and lose sight of
the overall effect you’re hoping to achieve.
When this happens, the style can become
unnatural.
I have a few suggestions for you to try
to help loosen up, but first I wanted to
make an observation. Writing is unnatural.
As novelist Jonathan Lethem said in the
Guardian: ‘All writing, no matter how
avowedly naturalistic, consists of artifice, of
conjuration, of the manipulation of symbols
rather than the “opening of a window on to
life”. We writers aren’t sculpting in DNA,
or even clay or mud, but words, sentences,
paragraphs, syntax, voice; materials issued
by tongue or fingertips but which dissolve
upon release into the atmosphere into
cloud, confection, spectre.’
Lethem is right, it’s a magic trick and
we’re all working hard at concealing the
man behind the curtain. It’s curious that
the process of creating something that you
hope appears ‘natural’ is so ‘unnatural’.
Lethem likens it to painting a picture of
an octopus and hanging it in an aquarium.
Why do it when the real thing exists? The
answer is the satisfaction when the illusion
is achieved; when the reader is so absorbed
by the story that she forgets that it’s a
fiction. The problems occur when all this
industry becomes obvious and the writing
is stilted and overworked.
One idea to shake up your approach to
writing is to begin each session with some
freewriting. Just 10 minutes of non-stop
pen to paper, a stream of thoughts. Resist
the urge to edit or even pause. When you
run out of steam, write I can’t think what
to write… until something new pops into
your head.
Emma Darwin in her excellent blog
www.thisitchofwriting.com explains why
freewriting helps: ‘There is still a first stage
when the imagination must be free to till

58 Writers’FORUM #204

For you, being
‘out there’ and
freewriting may be
just the ticket
the word-hoard and spill out the results.
If you don’t allow space and time for that
to happen, you will never write anything
fresh; whether you’re writing highly
commercial women’s fiction, or super-
literary short stories, you will forever be
stuck in the mire of off-the-peg language
and standard-issue ideas. […]
‘Creative work requires a flexible
kind of intensity: not just concentration
but also relaxation. Sometimes it’s the
relaxation which is hardest to achieve.’
Send your letters to Emily at mentor@writers-forum.com
When you’re freewriting it gives you
the chance to switch off your critical left
brain and unclench. Darwin continues:
‘The first use of freewriting is simply to
“centre down”, as the meditators would
call it: to shed the clatter of the world
around you, to slip into imagining instead
of receiving mode, and get your mind to
open the doors to your word-hoard.’
Freewriting also has an uncanny knack
of tapping into your unconscious, of
spilling out what you really think rather
than what you think the readers want
to read. This is literary gold. You might
surprise yourself with what you come up
with, Christina.
Many people feel resistant to freewriting
because it’s a little ‘out there’, but for you,
being ‘out there’ may be just the ticket.
As John Morrow says in his entertaining
blog (https://smartblogger.com/fix-your-
writing): ‘If you want to make your writing
interesting, you have to embrace the mess.
You have to find the courage to look inside
yourself and discover what you really
think.
‘You also have to feel, not just little blips
of emotion, but buckets of it, drowning
you in their intensity and power. As
writers, we wrestle not with words, but
with ourselves. Ideas, emotions, logic –
those are the real building blocks of great
writing, and if you’re to understand them,
first you have to understand yourself.’
Could the need to edit and revise be a
way of censoring your thoughts? Do you
feel self-conscious or vulnerable about
revealing yourself in your writing? Let me
reassure you that what you reveal will be
interesting. Absolute honesty is always
fascinating. Dare to bare all.
Ash Ambirge writes along similar lines
in her irreverent blog (https://www.
themiddlefingerproject.org/how-to-stop-
writing-with-a-stick-up-your-ass): ‘Don’t
write as if it’s for publication. Here’s
what’s going on: You may be aiming for
“personality” when really what you want
is human. The key lies in teasing out
the commonalities between what we, as
humans, experience when we go to that
place, or when we interact with that thing
or idea… and let us see our thoughts
in yours.’
Try to tap into the side of you that
bubbles out naturally, rather than wringing
it out like wet washing. English teacher
and writer Ken Macrorie coined the phrase
‘kitchen language’ for the tone to aim for;
that relaxed style that’s more at home
making scrambled eggs and chatting to a
friend, rather than the buttoned-up prose
of a lawyer’s office.
So kick off your shoes, let down your
hair and let the real Christina shine out.
Tips to take away
■■ Encourage a freer style by changing
your working environment. Be like Truman
Capote and write lying down, perhaps?
■■ Freewriting not only helps to relax, it can
be useful to provide new themes, phrases
and ideas – mine it for potential gems.
■■ Try writing at unusual times – set the
alarm early instead of staying up late or
steal half an hour of your lunchbreak.
The Write Factor offers all
sorts of services to support
your writing process, from
mentoring and writing courses to editorial
feedback and assessment. Find out more at
www.thewritefactor.co.uk
Writers’FORUM #204 59
 AUTHOR KNOW-HOW
Research secrets Popular crime writer Peter Robinson tells Anita Loughrey about the
research he undertakes for his Inspector Banks novels
A
fter a few abortive
attempts at writing a
crime novel, I finally
hit on the idea of DCI Banks.
I had read a number of series
in which a writer takes a part
of the country he knows and
loves and puts a detective and
sidekick in it.
As far as I was aware at the
time, only Reginald Hill had
used a Yorkshire setting, and
as I’d been living in Canada
for a short while and was
feeling homesick, I thought
writing about Yorkshire
would also be a good way to
keep in touch. The first DCI
Banks book, Gallows View, was
published in 1987.
Eastvale and its immediate
area are all in my head. I did
draw maps when I started
and tried to keep a record
of everyone’s progress, age,
significant dates etc. But I
found the more I wrote about
the places and people, the
less I needed to rely on my
background notes. Sometimes
I have to flip through one
of the previous books to
find something I said about
someone. I usually have an idea
which side of the page it is on
and how far down, but I never
seem to know exactly where.
The landscape I invented is
fairly flexible, and there plenty
of unused areas in which I
can introduce new villages or
buildings. Most of the places I
write about are real and exist
somewhere in the Yorkshire
Dales, but I move them around.
I also spend a lot of time poring
over old Ordnance Survey
Author pic Pal Hansen
maps and travel literature
about the county to immerse
myself in the area.
I used to visit the Dales often
with my father when I was a
60 Writers’FORUM #204
Towns like Ripon inspired the
fictional Yorkshire setting
child. He was a keen amateur
photographer and would take
me with him on his weekend
trips to Richmond, Hawes,
Aysgarth, Grassington and
such places. Mostly I would
sit on a stile or lean back
against a drystone wall and
read while he waited for the
light to be just right for the
photo he wanted to take,
but I also came to love the
countryside. It was a nice
contrast to the working-class
area of Leeds we lived in.
Over the years I’ve had many
holidays there, and a few years
ago my wife and I were able
to buy a house in Richmond,
so we now spend part of each
year over there immersed in
not only the geography but the
local atmosphere.
Old crimes
I’ve used old crimes on more
than one occasion, and I find
the freedom from modern
scientific investigative
The more I
wrote about
places, the less
I needed to rely
on notes
techniques liberating. It’s a
joy to work on a crime story
without computers, mobile
phones, DNA and all the rest—
just a landline, a police radio
and little grey cells.
Ultimately the reconstruction
of an old crime is an
imaginative act rather than
a painstaking collection of
contemporary detail. Old
newspaper accounts can be
useful, though, which I find in
Leeds Central Library.
Contemporary photographs
and films are also invaluable.
When I was writing Piece of my
Heart I had to ‘reconstruct’ a
1969 rock festival, even though
I was at plenty of them, and
I found documentary and
performance DVDs of the Isle
of Wight Festival very useful.
I have also found the Famous
Trials series of books useful
for grasping the mores and
attitudes of previous decades.
Crime fiction is really a
way of looking at society, or a
certain section of it, through
its crimes, so accounts of old
murders can really spark the
imagination.
I also have a contact in the
West Yorkshire Archives in
Wakefield, and she tells me
about things that may make
interesting stories, or details
of stories, in addition to telling
me where the old files are
located.
Of course, so much has been
lost or destroyed in fires over
the years that I still end up
having to invent much of the
detail.
Police procedure
I’m no expert on ballistics and
that’s the kind of research I
don’t particularly enjoy. I use
books, mostly American texts,
such as Geberth’s Practical
Homicide Investigation and the
Fishers’ Techniques of Crime
Scene Investigation.
I also use the internet. I
needed a rifle with power over
a certain distance and found
most of the information I was
looking for on the AR 15
online. You’d be surprised how
many gun freaks there are
out there willing to tell you
anything you want to know.
Sell you it, too, if that’s what
you’re interested in!
A manhunt is mostly a
matter of common sense, so
I haven’t really needed to do

a great deal of research into
the way such searches are
organised. The problem for
me isn’t so much where you
look or how you organise your
resources but that you have to
be very careful not to overlook
anything.
For example, most cities and
many villages are covered by
CCTV, and a writer would
look like a real fool if he had a
murderer walk away unnoticed
from a site covered by CCTV.
Of course, the quality of the
images is variable, and it
doesn’t take much for someone
to cover his face while making
a getaway. There’s also the
automatic number plate
recognition (ANPR) system in
place on major roads, which
can track vehicles by their
number plates.
So for a crime writer the
problem is thinking one’s way
around these devices – and
knowing they exist, of course.
That’s why I sometimes long
for the old Dixon of Dock Green
era when there was none of
that sort of thing. I’m not a
scientist or an IT geek; I’m a
writer.
Talking shop
My research tip to other crime
writers is talk to people – cops,
forensic experts etc. You’ll find
that most of them will be very
helpful. They want you to get it
right. A secret meeting with an
undercover cop in Tallin was
about the strangest research
experience I’ve had. It was all a
bit cloak and dagger, but I got
some interesting background
on criminal gangs in the Baltic
states for Watching the Dark.
Naturally, they won’t discuss
active cases with you, for
legal reasons, but if you want
to know how certain things
are done – such as visiting a
house where there’s a reported
firearm – then ask.
If you ask a few different
people, too, you might get
different answers, which as far
as I’m concerned is a licence
to use your imagination, your
greatest asset as a writer.
Don’t become obsessed with
research. It’s merely a means
to an end, and that is getting
the reader to believe in the
world you are creating. For my
first couple of books, I didn’t
have any sources for police
procedure so I took it from
the Ruth Rendell books I was
reading at the time.
I mentioned this in
conversation with her once,
years later, and she told me she
had made it all up herself. The
details weren’t bad, though.
And Ruth’s books are certainly
none the worse for it.
The Banks TV series
When Banks was adapted
for television, Left Bank, the
production company involved,
were very welcoming, and
I was invited on set many
times, which I really enjoyed.
They would also send me the
scripts, usually the day before
shooting, but nobody really
wants the author’s opinion on
a TV series.
If I disagreed with something
Banks said in the script, and
if Stephen Tompkinson, who
played Banks, agreed with me,
then they might change it, but
that’s as far as my influence
went. It’s a pity the series took
the direction it did in the later
episodes. I think they should
have stuck with the books.
• See www.inspectorbanks.com
LITERARY MARKETS
WRITING OUTLETS
with Janet Cameron
Brave new poetry
One Sentence
Poems
onesentencepoems.com
This is a fun way to write
a poem, and it needn’t be
particularly short if you use
your skill and imagination.
One Sentence Poems is an online publisher posting a new
poem five days a week. Have a look at the site and you will
see how varied and delightful these little poems are.
Tip: You need to follow their rules carefully – check out the
guidelines on site.
Submissions: No semi-colons or colons (that’s cheating)
and the poem must have at least one line break. Submit up
to four one-sentence poems at a time using the online sub-
missions manager.
Matador Review
www.matadorreview.com
Matador Review is a quarterly online
literary magazine that prides itself
on taking an alternative slant on
its subject. The editors say this is
a way of using voice and experience
to portray a progressive attitude.
Tip: Be provocative if you want
your work to be noticed.
Submissions: Send fiction under 10,000 words, flash
fiction under 1000 words or up to to six poems to editors@
matadorreview.com. Type ‘Submission’ with your name and
the genre in the subject line. Attach work as a .doc, docx or
pdf file only, in 12pt New Roman. Include a cover letter with
your name, email and title, and a 100-word bio, but don’t
identify yourself on your material as work is read blind.
Arc Poetry
http://arcpoetry.ca
Arc Poetry is published three
times a year, and its autumn
issue is themed. A digital-
only edition costs CAN$20
a year.
Tip: They pride themselves on publishing ‘wild and cunning’
work that would be declined elsewhere, and want brave
new voices. ngle for that new, exciting perspective.
Submissions: Use their online Submittable to send three
poems, one at a time, with a 50-word author bio. You may
not submit more than once per calendar year. Type in single
spacing, and put your name, email and mail address on each
page. You should receive a response in four to six months.
The pay is $50 per page plus a free copy of the magazine.
• Janet’s ebook Fifteen Women Philosophers, published by
decodedscience.com, is available from Amazon
Writers’FORUM #204 61
 COMP CALENDAR
Competitive Edge
That all-important first impression
Morgen hears from magazine publisher
and short story writer Jo Derrick
The first time I judged a
story competition was back
in 1994 when I needed
content for a new literary
magazine I was about to launch.
Quality Women’s Fiction became
quite a success and I regularly ran
competitions, culminating in what
was to become the Phillip Good
Memorial Prize, after the loss of
my husband.
This prize attracted hundreds
of entries, most of which I judged
single-handed. I was also reading
several magazine submissions a
day. Time was in short supply, so
if that first paragraph didn’t grab
me, the story was cast aside.
This is why it is so important
for writers to make a good first
impression. Editors and judges
are busy people. They are usually
writers themselves and fit their
reading around other work. Very
few judges have the patience to
read a 3000-word badly written
story from beginning to end.
The title and first paragraph
have to interest me from the off
and really stand out from the
crowd. There has to be proof
in that first paragraph that the
writer has a good use of language,
knows how to punctuate properly
and that the story has originality.
I think my favourite judging
experience was the Bridgend
Writers’ Circle short story
competition in 2016. I’d come
second the previous year with my
story Dulce Et Decorum Est. The
theme of the 2016 competition
was ‘Our street’. Members of
the writers’ circle narrowed the
entries down to a shortlist of just
six, which were posted to me to
judge. I must have read each of
those stories at least four times.
62 Writers’FORUM #204
This is where judging becomes
so subjective. For me, it’s usually
the story that resonates most
that wins. The story I can’t get
out of my head, whether because
of the author’s wonderful use
of language, imagery etc, or
because of a particularly arresting
character, setting or simply a
compelling story well told. When
the competition has a theme,
how well the author interprets
that theme also comes into play.
Last year I judged two
competitions as part of a judging
panel – the Bath Short Story
Award and The Rubery Book
Award – and had to fight for a
particular story or book. That
was an interesting challenge.
In those instances it’s always
gratifying when a story or book
you’ve fought hard for makes
it on to the shortlist or list of
prizewinners.
My advice to budding
competition entrants is to never
give up on a story. Keep rewriting
and editing. Write the story from
a different viewpoint and tense.
Play around with the structure
and always ensure you know
whose story it is you’re telling.
Aim for the best and most
original opening paragraph as
well as an arresting title. Try
editing down a 1000-word story
to a 500-word flash piece. It’s an
interesting exercise and a great
way of learning that ‘less is
more’. Remember, too, that
plot comes from character.
• Jo Smith’s flash fiction collection,
Sounds of Darkness, is out soon
from Chapeltown Books. You can
find out more about Jo at https://
joderrickfiction.blogspot.com
Morgen’s Motivation
It is important to make a good
first impression. As Jo’s example
illustrates, unless your story has
a great ‘hook’, whoever is reading
it – whether a judge, editor or
reader – is unlikely to get any
further. They’re too busy.
What makes a good hook?
Usually it’s quickly introducing
the conflict that is happening to
the main character. By throwing
proverbial rocks at our hero or
heroine, our readers will want
them to be OK by the end of the
story. It’s how that happens that’s
the interesting part for them…
and us!
Comp of the Month
Hosted by Northampton Writers
Group, the HE Bates Annual
Short Story Competition has
been running since 2005 and
has a 3 December deadline this
year. You have up to 2000 words
to tell your story, and as well
as a £500 top prize, there are
three other prizes including Best
Northamptonshire Writer (if not
the winner of any other prize). See
www.hebatescompetition.org.uk/
competition-rules for details.
Reader feedback
Carol Long, non-fiction writer
and management consultant, says:
‘Entering writing competitions is
often unsatisfying. They provide
an excuse to procrastinate,
distract from work in progress
and add to expenses. There is
rarely valuable feedback or return
on the investment in entry fees,
unless you win. But… distraction
can be useful too: new ideas
and different topics can break
“writer’s block”.’
Thank you, Carol!
■■ Send your recommendations
for ‘Comp of the Month’ as
well as competitions we could
include. Morgen would also love
to know how you’ve got on with
comps listed in these pages or
elsewhere. Get in touch at the
email address above.
Send your success stories, questions for Morgen, tips and comp news (three months in advance) to comps@writers-forum.com
with writer, editor and
competition judge Morgen Bailey
COMPS NOW OPEN
Albedo One Aeon Award
Short Fiction Contest
Closes 30 Nov
Story: maximum 10,000 words.
Theme: any speculative fiction
genre. Fee: €8.50. Prizes: €1000;
€200; €100. Details: see www.
albedo1.com/aeon-award
The Observer Anthony
Burgess Prize for Arts
Journalism
Closes 30 Nov
Arts review: max 800 words.
Fee: £10. Prizes: £3000 plus pub-
lication in the Observer; 2 x £500.
Details: www.anthony-burgess.
org/observeranthony-burgess-
prize-arts-journalism
Words Magazine
Short Story Competition
Closes 31 Dec
Story: up to 2000 words.
Theme: ‘Murder’. Prizes: £50;
£25; all entries will be considered
for publication in the magazine or
future anthologies sold in aid of
RNLI. Details: see www.words
mag.com/compcal18.htm
COMPS CLOSING SOON
27 SEP
Erewash Writers’ Open
Short Story Competition
Story: 2500 words max. Fee: £3
for one then £2.50. Prizes: £100;
£70; £30; two ‘Highly Commended’
receive free entry to 2019 comp.
Judge: Helen Laycock. Details:
see erewashwriterscompetition.
weebly.com/2018-open-short-
story-competition-with-helen-lay-
cock.html
28 SEP
Irish Writers Centre
Novel Fair
Novel extract: five chapters
(10,000 words max) plus full syn-
opsis (300 words max). Fee: €40
Erewash judge
Helen Laycock
(IWC members); €50 (non-mem-
bers). Prize: potential representa-
tion and publication. Details: see
irishwriterscentre.ie/collections/
novel-fair
30 SEP
Bedford International
Writing Competitions
Story: 3000 words. Poem: 40
lines max. Fee: £6 or three for £12
(£4 or three for £8 full-time stu-
dents). Prizes: £500; £150; £100
per category; special Bedford Prizes
of £100 in each category. Details:
please see www.bedfordwriting-
competition.co.uk
Caterpillar Story for
Children Prize
Story: aimed at children 7-11 yrs
old, 1500 words. Fee: €12. Prize:
€1000. Details: see www.the
caterpillarmagazine.com
Galley Beggar Press
Short Story Prize
Short story: 6000 words max.
Fee: £10; FREE entry available to
70 low-income writers. Prizes:
£1000 or year-long editorial sup-
port; £150 if shortlisted; £50 vouch-
ers and subscription if longlisted.
Details: see www.galleybeggar.
co.uk/prize
Salopian Poetry Society’s
Open Poetry Competition
Poem: 42 lines max. Fee: £3 per
poem, four for £10 (non-members);
£2 each (members). Prizes: £200;
Continued overleaf
▲
 COMP CALENDAR
Continued from page 63
£100; £50; 5 x £30 plus £50 for
best humorous poem. Judge: Sir
Michael Leighton. Details: please
see www.thesalopianpoetrysociety.
webeden.co.uk
Tom Howard/Margaret
Reid Poetry Contest
Poem: 250 lines max. Fee: $12
per poem. Prizes: Tom Howard
TARGET Prize (a poem in any style or genre)
$1500 plus Duotrope gift certifi-
YOUR MARKET cate; Margaret Reid Prize (a poem
that rhymes or has a traditional
THROUGH THE style) $1500 plus Duotrope gift
certificate; 10 x Honorable Men-
PAGES OF tions $100 each. Details: see
winningwriters.com/our-contests/
Writers’FORUM t o m - h o w a r d - m a r g a re t - re i d -
poetry-contest
Writers’ College Times
International Short Story
Call Competition
Short story: 600 words max.
Wendy Kearns on Theme: ‘The best writing tip I’ve
ever received’. Prize: AU$200 (or
£100). Details: see www.writers
01392 466099 collegeblog.com/my-writing-jour-
ney-competition
or email
1 OCT
wendykearns1@gmail.com Small But Mighty Young
Writers Competitions
Fiction: max 1000 words. Poem:
15 lines max. Age categories:
7-11 yrs, 12-15 yrs. Details: see
smallbutmightywriters.com/com-
petitions-2
Zoetrope All-Story
Short Fiction Competition
Short story: 5000 words max.
Fee: $30. Prizes: $1000; $500;
$250. Judge: Colum McCann.
Details: see https://all-story.com/
contests
2 OCT
Deborah Cass Prize
Short story or non-fiction:
3000 words max, can be complete
work or an extract. Rules: open
to early career Australian writers
with migrant background. Prize:
AU$3000, publication, plus mentor-
ing by established writer. Details:
please see https://writersvictoria.
org.au/calendars/opportunities-
competitions
64 Writers’FORUM #204
26 OCT
Dinesh Allirajah Prize
for Short Fiction
Short story: 2000-6000 words.
Theme: ‘Scent’. Prizes: £500;
publication. Details: commapress.
co.uk/resources/prizes
31 OCT
Walter Scott Prize for
Young Historical Fiction
Writers
Short story / Non-fiction /
Poetry / Extract: 800-2000
words. Rules: 11-19 yrs. Prizes:
£500 travel and research grant,
invitation to Borders Book Festival
2019; book tokens worth £100 for
runners-up; anthologies. Details:
www.walterscottprize.co.uk/young-
walter-scott-prize/how-to-enter
2 NOV
Bath Children’s Novel
Award
Novel: suitable for 7-17 yr olds;
5000 words plus synopsis. Rules:
indie or unpublished. Fee: £25;
50 x low-income sponsorships also
available. Prizes: £2500; Corner-
stones online course worth £1800.
Details: bathnovelaward.co.uk
3 DEC
HE Bates Annual
Short Story Competition
Story: max 2000 words. Fee:
£6 for first story, then £5. Prizes:
£500; £200; £100; best Northants
writer £100. Details: see www.
hebatescompetition.org.uk/compe-
tition-rules
UNLESS OTHERWISE STATED…
Theme and genre are open. Entries
should be original and unpublished.
Postal entries should be printed on
white A4 in a clear plain font. Include
a separate cover sheet with the title,
word count, your name, address and
postcode, phone and email. Stories
should be double-spaced with good
margins.Where necessary include a
large enough sae with sufficient
postage. Always contact the organiser
or check their website to confirm
details.Writers’ Forum does not
accept responsibility for errors in or
changes to the information listed.
 OUR GIFT TO YOU
Receive your copy of Stephen
King’s On Writing,
one of the most
acclaimed books
about writing,
when you
subscribe for Plus FREE
12 months† ENTRY to
the FLASH
COMP!
While stocks last. Due to postage costs the
†

book offer is for one-year UK subscriptions only

Subscribe now, save money and find information and inspiration on your doorstep every month!
Call 01202 586848 � Visit www.selectmagazines.co.uk � or return this form to:
Subscriptions, PO Box 6337, Bournemouth BH1 9EH
ONE-YEAR SUBSCRIPTION 12 ISSUES PAYMENT DETAILS Choose one of the following three options
UK £38 Europe £49 World £56
1 I enclose a cheque for £ made payable to ‘Select Publisher Services Ltd’
OTHER OPTIONS UK ONLY
6 issues £20 2 Please debit my Visa Mastercard Maestro by £
Quarterly £9.50 by Direct Debit (see form)
Card no
BINDERS I would like @ £6.50 (see below)
Valid from Valid to Issue no Security no (on back)
START DATE Please start the subscription in
Signature Date
Month Year

YOUR DETAILS 3 Quarterly payment of £9.50 every 3 issues (UK only)

Instruction to your bank or building society to pay by Direct Debit
Name
Please fill in the form and send to:
Select Publisher Services Ltd, PO Box 6337, Bournemouth BH1 9EH � � 3� �8 �7 � 7
Service user number 8 3
Address
Name and full postal address of your bank or building society.
To: The Manager, Bank/building society
Postcode Address
Phone Postcode Name(s) of account holder(s)

Email Branch sort code Account number

DELIVERY DETAILS (if different) (Official use only) Reference

Name Instruction to your bank or building society

Please pay Select Publisher Services Ltd Direct Debits from the account detailed in this instruction subject
Address to the safeguards assured by the Direct Debit Guarantee. I understand that this instruction may remain with
Select Publisher Services Ltd and, if so, details will be passed electronically to my bank/building society.

Signature Date
Postcode Banks and building societies may not accept Direct Debit instructions for some types of account.

KEEP YOUR MAGAZINES PRISTINE MARKETING PREFERENCES

Grab our sturdy red binders with the Writers’FORUM logo up the Please tick if you DO want to receive other
information from Select Publisher Services.
£6.50 spine. To order just add £6.50 per binder to your total or choose the Please tick if you DO want to receive information
for subscribers binder option on our website. Non-subscribers can order binders for from our advertisers and other companies.
inc p&p For information about how we manage personal data,
£7.50 inc p&p by calling 01202 586848 or at www.selectmagazines.co.uk please see https://www.selectmagazines.co.uk/privacy-policy
 WRITING ROOMS
Where I write
Phil Barrington catches up with mobile crime
writer Leigh Russell
I
have a desk at home and another at
the university where I work as a Royal
Literary Fellow, but only about half of
my writing is done sitting at them. Portable
technology means I can write absolutely
anywhere, any time: on a train, in a car,
on a plane, in a cafe, in bed, in the garden
– nowhere is out of bounds. I was even
able to send an edited manuscript to my
publisher from a beach in the Seychelles.
It’s a hard life.
I work on two iPads which are synched,
so all my work is automatically stored on
both devices and in the cloud. Wherever
I go my iPads go too, along with a wireless
keyboard and charger. Whereas before
I used to obsessively print out all my
changes for fear of losing them, everything
is now saved automatically as I go. This
has undoubtedly saved a few forests.
Although I can write anywhere, I like a
sparse desk, plain white walls and a view
of the sky. The space gives me a sense of
66 Writers’FORUM #204
freedom which helps my creative process.
I also need the physical space of my desk
for edits because I use two screens – one to
read my editor’s comments and the other
to make changes on the manuscript. It’s
also essential to work in silence at this
stage so I can concentrate. My family know
to leave me alone when I’m editing.
While the time I spend editing is full on,
with my head down for several days, my
writing is piecemeal. I envy writers who
are able to take three months off to write.
What with visiting my father, looking after
my granddaughter, speaking at literary
festivals and libraries, and serving on the
board of the Crime Writers’ Association,
somehow I never manage to have a whole
day free for writing.
For the first 50 years of my life I was an
avid reader, spending as much time as I
could with my nose in a book. Although
I loved stories, it never occurred to me to
try and write myself. But one day an idea
for a story occurred to me, and almost
overnight I went from being an avid
reader to a compulsive writer, staying up
far later than I should have done to type
up my handwritten pages. My touch-
typing skills came into their own and I
was able to complete 2000 words a day in
addition to my day job. Before I knew it,
I had written a very rough draft of my
first book, Cut Short. My crime fiction
series featuring Detective Geraldine Steel
has sold well over a million books so far.
With 18 books published in 10 years my
writing process has become more efficient
with practice. Somewhere along the way
I made the transition from paper to screen.
At over 70 words per minute, my typing is
faster than my handwriting, but it’s also a
different kind of process and I find I now
write in a kind of ‘free flow’ – with a lot of
rewriting and editing. This has made the
process faster and simpler in many ways.
The many demands that take me away
from my work should be frustrating, but
I love my life and thrive on the pressure
of publishers’ deadlines. My somewhat
chaotic way of working might drive many
people crazy, but it works for me.
Bring a new story home with you today.
That Day Has Come Dulk
This Is a Diary of My Travels, Four Months of New Experiences! I Had This Dream
Nicolette Florides K.G. Radford
Nicolette Florides shares her personal travel experience from fun Join Dulk in his garden of surprises. He learns how to talk with the
and exciting adventures to learning about history of countries such plants, how his vegetables have responded to his secret plant food
as Vietnam over four months in this travel journal. and meets his giant peas.
£26.99 paperback £12.99 paperback
978-1-5462-9029-2 978-1-5462-8493-2
also available in ebook also available in audiobook and ebook
www.authorhouse.co.uk www.authorhouse.co.uk

100 Physical Education Activities The Cellist’s Friend

Denis O’Driscoll Robert J Fanshawe
Simple, safe, enjoyable, and fuss-free, 100 Physical Education Set during World War One, The Cellist’s Friend is the story of one
Activities is an invaluable resource for teachers, parents, or man’s battle to redeem his own cowardice while recovering from
anyone looking to occupy energetic kids. Denis O’Driscoll a near-fatal war wound.
presents an accessible array of innovative activities guaranteed
£11.95 paperback
to capture the imagination.
978-1-5462-8833-6
£8.95 paperback also available in hardcover & ebook
978-1-4969-8447-0 www.authorhouse.co.uk
also available in ebook
www.authorhouse.co.uk

The Musician of the Heliopause The Books of Norene I

Hypatia Atheiria Wolves and Werewolves
Interspersed with a number of philosophical and theological essays, Jane Sefc
a schoolgirl who has troubling dreams and the ability to travel A wolf has found a lost necklace. Werewolves now must not only
between quantum realities finds herself in an alternate England plot to steal an enemy’s king crown, but retrieve their necklace.
where the fabric of society is under attack from creationists. But first they must find the wolf.
£15.95 paperback £11.95 paperback
978-1-4969-9700-5 978-1-5462-8836-7
also available in hardcover & ebook also available in hardcover & ebook
www.authorhouse.co.uk www.authorhouse.co.uk

Marrying Right He Has Come

Davison Kanokanga Patrick Gallivan
Avoid the pain of committing your life to the wrong person. Written by Patrick Gallivan, He Has Come chronicles the life of avatar
Marrying Right is a useful guide for anyone who may be and philanthropist Sri Sathya Sai Baba. The book also offers an
considering marriage. overview of the spiritual leader’s teachings and philosophies.
£9.95 paperback £9.95 paperback
978-1-5049-9991-5 978-1-4918-9700-3
also available in hardcover & ebook also available in hardcover & ebook
www.authorhouse.co.uk www.authorhouse.co.uk

Prime Poems Austen the Time Travelling Hero

Alison Fromager Austen Meets the Romans
Embark on a poetic journey with Alison Fromager’s first book of Jason Pratt
poems. Enjoy this diverse collection of Prime Poems. A small boy named Austen is whisked away on a time-traveling
£8.95 paperback adventure with the Romans. Will he be able to get back home again?
978-1-5462-9204-3 £12.99 paperback
also available in ebook 978-1-5462-8994-4
www.authorhouse.co.uk also available in ebook
www.authorhouse.co.uk

Moonbugs Fresh Litchies from Great Great Grandma

Clara Robson Kanu Cheri Susan Stewardson
Moonie Moonbug leaves her home on the moon for an adventure to A first reader, showing different generations and friends, loving,
Earth. When she makes friends and meets wonderful earth creatures, caring about and providing for each other while helping the
it’s harder for her to say goodbye and return to the moon. environment and future generations.
£17.99 paperback £13.99 paperback
978-1-5462-8948-7 978-1-4969-9549-0
also available in ebook also available in ebook
www.authorhouse.co.uk www.authorhouse.co.uk

Real Authors, Real Impact Visit us on Facebook & Twitter