"A word after a word after a word is power" - Margaret Atwood

BRIDGET WHELAN

A blog for readers and writers

A blog about the stories we tell each other and how we tell them...

Thursday, 12 January 2012

Fiction for children - free competition

Commonword - a Manchester based organised with a mission to help new writers - has launched a competition for unpublished authors of children's fiction. (They have a very specific definition of what that means, but basically if you have already published something in another field - as long as it is not a novel for children - you should be ok. Read all the conditions thoroughly before submitting though...)
What they want
(Up to the) First 4000 words of a children's novel already written. Synopsis. Biography.
When they want it
February 29 2012
Special feature
The writing has to "embrace ethnic diversity" OR the author must "through their own ethnicity and culture."
Who can submit
Over 16
Resident in UK
Unpublished - read the terms and condititions
What you get (fingers crossed and a lot of hard work)
£500 cash prize
professional mentoring 
£100 worth of Puffin books of the winner’s choice.
Honour and Glory. (Although it won't help you at Sainsbury's check-out, it could be just what you need to interest an agent or publisher) 

Tuesday, 3 January 2012

Free Joyce


January 13th 2012 is the 70th anniversary of James Joyce's death. That means his writing is no longer protected by European copyright law so expect an explosion of new productions and adaptions .
Joyce was a notoriously slow writer.  There's many variations of this legendary anecdote, here's one...
     "Productive day today Mr Joyce?"
     " . . . Yes, I completed three sentences."

And I've just come across this one.
     "So, what did you do during the war, Mr Joyce?"
     " . . . I wrote Ulysses. What did you do?"

Monday, 2 January 2012

A website for writers and readers

Read about a desert closing (yep, like Sainsbury's) on today's contribution to Paragraph Planet and well done to Brenda - one of my former students.

Friday, 16 December 2011

Foxed by synecdoche? Worried about smilies?

Watch one of my all time favourite youtube videos -- proof positive that words can be dangerous.

Is 2012 the year it all changes?

Read today on a technical website that Amazon in America are shipping one million Kindle products a week in the run up to Christmas. Haven't seen the figures for the UK but I bet they are comparable. 
I'm just wondering if our fitted, craftsman-built and amazingly stylish bookshelves (that are still waiting for the first book to grace their elegant proportions - they're thirsty for a third coat of Danish oil apparently) are now hopelessly out dated. 
And yes, I have put a Kindle on my Father Christmas list

Wednesday, 14 December 2011

Thinking of joining a creative writing course? Read on...

I was browsing and re-discovered an interview I did last year with a Canadian website (ok, ok, I googled my name. I had a ton of other things to do but somehow I just found my newly French polished nails tripping over the keyboard.)
Anyway....here's an extract especially for anyone thinking of jumping into a creative writing course in the new year. (Get in touch if you want to come to one of mine - London and Brighton. I don't have much to do with the admin side but I gather there has been a flurry of enrollments so sooner rather than later is my advice....)

For the full interview go to The Literary Project

You also work as a creative writing tutor. There is a lot of debate as to whether writing is a natural ability or a skill that you can learn. What’s your opinion on this? Do you think anyone has the potential to be a successful author?

No one thinks it odd that an artist should want to go to Art School. Or questions why a musician thinks lessons would be a good idea…There is a craft to writing that can be taught and natural talent can be nurtured and supported. I don’t believe in the tough love method of teaching. That doesn’t mean I pat everyone on the head and murmur very good, but I do believe in the importance of encouragement.

Not everyone can be a successful writer but nearly everyone can get real pleasure from writing with imagination. In much the same way I love drawing but I will never have an exhibition in Bond Street. I would just like to be good enough to go on a learn-how-to-paint holiday without embarrassment…

I want creative writing to be recognized for what it is: the ultimate vocational skill. There is no job, no area of life, where using language with greater precision, thought and effectiveness is not an asset. And perhaps it really comes into its own when faced with the most daunting blank page of all (the one that comes after the list of past jobs and before the address of a referee) where you have to sell yourself to a could-be, might-be employer. English language classes give you the tools: creative writing show you how to use them.

There are so many different types of writing courses out there; from short, online tasters up to Masters degrees. What should aspiring writers take into consideration when deciding what level and type of study is right / most beneficial for them?


First, I think you need to be realistic about the kind of learner you are – can you work on your own or is the social interaction of a class important to you? There’s a big drop out rate from online and correspondence courses – you have to very committed to keep going but they work very well for some students.

Studying for a Masters was important to me. I left school at 16 with a couple of exams. My first degree (in history) was hard won. I studied part time while working full time and bringing up a family so I getting another qualification meant something. It also opened the door to teaching – a career change that I hadn’t even considered ten years ago.

However, if your priority is writing then I would whole heartily recommend adult education. It’s flexible, has high standards and well qualified tutors. I teach on several adult education classes and I love the mix of students, their energy and ability.

What are the most common mistakes you see in the work of students hoping to be published?
1) Too many words. Everything should be on a need to know basis. Does a reader really need to be aware that a character was popular at school or has blue eyes? The writer might need to know all that (and more) but does the reader?

2) Too few words. Often a story takes places in a vague vacuum. Everything happens somewhere and a couple of sentences may be all that is needed to ground a story in urban America or rural England or where ever, but without a sense of place there can be an unsatisfying detached quality. The aim should be to allow the reader to feel what it is like to be there: wherever there is…

3) Too cardboard. If the characters don’t live for the writer they aren’t going to live for anyone else. I once asked a student to tell me something that their main character wouldn’t what anyone else to know. The reply: that he’s a jerk. That answer told me straight away that the story would be flat, lifeless…. Because a jerk doesn’t think he is a jerk.

And finally, can you sum up a key piece of advice for aspiring writers in one sentence?
Write a lot and read a lot and don’t be defeated when you get it wrong: writing is an art not a science, so accept you’ll never stand back and say hmmm, no one could express that better.

Monday, 21 November 2011

New Writer competition closing soon

This is the 12th year of the Prose and Poetry Prizes sponsored by The New Writer magazine. Prizes are awarded in the following categories:
FACT
Essays, Articles, Interviews - covering any writing-related or literary theme in its widest sense up to 2,000 words. 1st prize £150, 2nd £100, 3rd £50.
FICTION
Short Stories, Micro Fiction - short stories 500 to 5,000 words, micro fiction up to 500 words; on any subject or theme, in any genre (not children's). Previously published work is not eligible. Short Stories: 1st prize £300, 2nd £200, 3rd £100. Micro Fiction: 1st prize £150, 2nd £100, 3rd £50.
POETRY
Single Poems and Collections - Single Poems up to 40 lines; Collections of between 6 - 10 poems - no restriction on length of poems in the Collection category. Single poem entries must be previously unpublished; previously published poems can be included as part of a Collection. Collection: 1st prize £300, 2nd £200, 3rd £100. Single: 1st prize £100, 2nd £75, 3rd £50.

Closing date November 30th

Entry fees: vary from £5 for two flash fiction stories to £12 for a collection of poetry. Reductions for magazine subscribers. 
Read the rules: follow the rules. It's not rocket science - the administrators will exclude anyone not obeying without even reading the first line...


Wednesday, 16 November 2011

Nothing to do with writing...everything to do with just getting by

There's no doubt that we facing Hard Times...but the cuts are not falling on everyone equally.  
Women are being hit in three distinct ways:
- they are losing their jobs
- their benefits and the services they rely on are being slashed
- AND they will be the ones expected to ‘fill the gaps’ as state services are withdrawn and voluntary organisations close down through lack of funding.
The Fawcett Society, backed by more than 20 charities, unions and academics, have produced a report that recommends:
• restoration of support for childcare costs for low-income families to pre-April 2011 levels - this would help ensure paid employment makes financial sense for the many low income women who’ve found they are better off not working.
• Ring fencing of funding for Sure Start children’s centres - this would further protect women’s access to employment and shore up the other vital benefits these centres offer thousands of families. 
• Stopping local authorities from treating violence against women services as a soft touch for cuts to ensure that some of the most vulnerable women in the UK have access to the support they need.
SIGN THE PETITION here
The Fawcett Society has been around since 1866. It's a shame that we can't relegate their work to the history books...

Wednesday, 9 November 2011

The website we all need....

Writers and would-be writers and day dreaming writers owe Sally Quilford big time. She contributes a monthly column to Writers Forum magazine but, more importantly, she runs a website that gives writers a reason to get up in the morning and face the cruel blank screen.
She lists writing competitions in order of their closing date. I have no doubt that represents a lot of hard work. Why I think her efforts are worthwhile and she should be recognised for services to the writing community is that we all need a deadline. If someone hasn't given us one we need to manufacture our own...
...I must finish this chapter, novel, short story, poem before Christmas, next pay day, the kids' coming home from school...
OR by the competition deadline because this time I'm actually going to send it off into the wider world and allow it to be read, to be judged.
Careers have been forged by writing competitions: by winning of them of course (poet and novelist Tobias Hill began his career this way and every rejection, every time he wasn't short listed he sent out more on the Hydra principle - every time the serpent's head was cut off she grew two more.) But even if you never win, never see your name among the list of honourably mentioned, you will have written something.
And the only way to learn how to write is to write (and to read obviously).
Writing in the head does not count. It needs the hard finality of paper.

And the Competitions we shouldn't enter...

Sally doesn't list every competition she hears about. Here she explains why she turns down some - and I think what goes for her should go for the rest of us. There are not that many writing scams out there, but they do exist. Follow her guidelines and you should be able to avoid them...

Reasons a competition might not be listed, include (but are not limited to):
a) a comp or event run by an obvious vanity publisher who charges entrants for expensive anthologies or tries to force entrants to spend money on other goods and services.
b) the 'winners' have to spend money in order to claim their prize (e.g. if the prize is a percentage off a writers holiday, or any other writers' service, I don't consider it a prize at all, so won't list the comps),
c) I may refuse to list a comp if I feel that the organiser is only doing it to sell books. For example, I've had self-published writers contact me about their comps, which stipulates that entrants must buy their book in order to enter, either because there's some codeword or because the story must be based on something in the book. I may do it for a bigger publisher, because they generally offer much better prizes.
d) If there is no real prize to speak of, and the prize only involves being published on a website, or publication in a book which the 'winners' have to buy.
e) if I find out that a competition has taken money from entrants but not paid out prizes, or has not played fair with its entrants in other ways.
f) The details have been submitted too late to take into account postal times etc.
g) If I feel the entry fees charged are disproportionate to the prizes on offer. An example is a comp that charges £20 per entry, yet offers prizes totalling less than £100.
h) The competition does not have a proper closing date, only some nebulous idea of when the organiser thinks they've 'got enough entries'. Comps without a closing date will not be listed.
http://www.writingcalendar.com

Know a gay bookshop? Love a gay bookshop? Write about it...

Treehouse Press are about to publish an anthology celebrating gay bookshops, past and present. They are looking for submissions now - personal stories and nonfiction preferred. Email first to say which bookshop you would like to cover and why. Make it good - this is your chance to pitch.
Published stories will receive a payment of £25 and two copies of the anthology.
Deadline end of November 2011.
Treehouse are a small independent press that "happily experiments with the chemistry shared between form and image".
They also opt for small print-runs "relieving the writer of the pressure to commercially perform, giving more room to play creatively."

Wednesday, 26 October 2011

IN YER FACE versus SUBTLE SUGGESTION - whose side are you on?

New Writing South are hosting The Monday Night Moot in Brighton next week and we're invited to join in the debate with Billy Budd playwright Martin Lewton and award winning actress, choreographer and director Miranda Henderson.  
As audiences walk out of the current RSC production of Marat/Sade (‘Utter filth and depravity‘ said the Daily Mail so that's a recommendation then), Rattigan and Wesker are enjoying revivals.The Monday Night Moot is a monthly creative and intellectual whiz, which invites two speakers to talk passionately for 15 minutes, each presenting an opposing view on a burning issue.  It’s then over to the audience to talk back, participate and give their verdict! 
Date: Monday 14 November 2011 
or call 01273 735353.



French Prize could go to a novel set somehwere in ireland

The PRIX GONCOURT - the tres prestigious French literary prize - goes through four rounds: a longlist, a shortlist, a shorter list (which was announced today) until finally  a winner is declared who must be living on his or her nerves by the time the announcement is made, surviving on a diet of nails (the handy kind that are easy to nibble) and strong drink.
The four books on this year's
short short list are:

  • L'Art français de la guerre by Alexis Jenni
  • La belle amour humaine by Lyonel Trouillot
  • Du Domaine des Murmures by Carole Martinez
  • Retour à Killybegs by Sorj Chalando 
My French is almost non existent I am ashamed to say (I won't bore you with a bag load of excuses) but as I have been to Killybegs, a very pleasant town in Donegal, I wanted to find out more. From what I can gather Sorj is a journalist who knows Ireland well. His story is about three generations of a family involved in nationalist politics and at least one family member is an active member of the IRA. 
 As I was reading websites with my French English dictionary in one hand and my finger poised over the Google translate this now button, I can't tell you much more except that some folk seemed to think that Killybegs is in Northern Ireland.
Given the novel's subject, it's an easy mistake for commentators to make. (I am sure the author didn't make it.) Donegal, however, is in southern Ireland - in the Irish Republic.
It is though the most northerly part of the island of Ireland. There, that's cleared that up.

Tuesday, 25 October 2011

The Great Book Give Away for 2012 announced - how many have you read?

One million books will be distributed for free – from this list of 25 – for the second World Book Night which is on St George's Day  - April 23rd - 2012
I've read 12 of them (most recently The Road by Cormac McCarthy) and have to confess that there's at least three on the list I've never heard of... 
Anyone heard of all of them? 
Anyone read all of them?
The one I haven't read and must is Dodie Smith's I Capture the Castle. So many people have said how good it is - her more famous book is 1001 Dalmatians.
I would recommend The Vanishing Act of Esme Lennox by Maggie O'Farrell to anyone who hasn't read it - a great example of intelligent women's fiction. No, that's wrong. It's a great example of intelligent fiction. Full stop.

Pride and Prejudice by Jane Austen (Vintage)
The Player of Games by Iain M Banks (Little, Brown)
Sleepyhead by Mark Billingham (Little, Brown)
Notes from a Small Island by Bill Bryson (Transworld)
The Alchemist by Paulo Coelho (Harper Collins)
The Take by Martina Cole (Headline)
Harlequin by Bernard Cornwall (Harper Collins)
Someone Like You by Roald Dahl (Penguin)
A Tale of Two Cities by Charles Dickens (Penguin)
Room by Emma Donoghue (Pan Macmillan)
Rebecca by Daphne Du Maurier (Little, Brown)
The Remains of the Day by Kazuo Ishiguro (Faber)
Misery by Stephen King (Hodder)
The Secret Dreamworld of a Shopaholic by Sophie Kinsella (Transworld)
Small Island by Andrea Levy (Headline)
Let the Right One In by John Ajvide Lindqvist (Quercus)
The Road by Cormac McCarthy (Pan Macmillan)
The Time Traveler's Wife by Audrey Niffenegger (Vintage)
The Vanishing Act of Esme Lennox by Maggie O'Farrell (Headline)
The Damned Utd by David Peace (Faber)
Good Omens by Terry Pratchett & Neil Gaiman (Transworld)
How I Live Now by Meg Rosoff (Penguin)
Touching the Void by Joe Simpson (Vintage)
I Capture the Castle by Dodie Smith (Vintage)
The Book Thief by Markus Zuzak (Transworld)

Friday, 21 October 2011

Why we read: by the Booker prize winner

Books are where things are explained to you; life is where things aren't. Julian Barnes

Monday, 3 October 2011

Felt in the mood for a poem about October...

...to be reminded what it's supposed to be like and here's one by Robert Frost. I presume he was writing about New England and I love the amethyst/mist rhyme (although I probably wouldn't volunteer to read it aloud).
There's nothing mauve and misty about old England right now. July got lost and ended up here, leaving a metallic taste in the mouth. There is gold in the air from a warm winter sun and bronze on the pavement from fallen leaves: there's even silver in the cash registers from unexpected visitors.

Saturday October 1st was the hottest October day EVER - hotter than Athens, Barcelona or Los Angeles.
It's like a present we didn't know we wanted until we got it. 
October by Robert Frost

O hushed October morning mild,
Thy leaves have ripened to the fall;
Tomorrow's wind, if it be wild,
Should waste them all.
The crows above the forest call;
Tomorrow they may form and go.
O hushed October morning mild,
Begin the hours of this day slow.
Make the day seem to us less brief.
Hearts not averse to being beguiled,
Beguile us in the way you know.
Release one leaf at break of day;
At noon release another leaf;
One from our trees, one far away.
Retard the sun with gentle mist;
Enchant the land with amethyst.
Slow, slow!
For the grapes' sake, if the were all,
Whose leaves already are burnt with frost,
Whose clustered fruit must else be lost--
For the grapes' sake along the all.