To begin at the beginning, wherever that is - by Rowena House

Where to start teaching creative writing in schools and colleges? It’s a question I know many writers in the ABBA community have answered in their own professional lives, and I’d love to hear your advice.

Me, I waver between starting with character or conflict + change, although recently I’ve plumped for all three at once. Is place next or endings? Rising tension? Voice or structure? Great openings from published books?

Years ago, a trainer on an author schools’ visit programme urged us to model ‘excellence’ first, and then to work backwards from there, which was all very well except that the model he used to illustrate his point was far from excellent, according to professional writing standards.

Ever since then I’ve worried that I might do more harm than good by enthusing about turning points and climactic choices between ‘irreconcilable goods’ etc. if that’s not what schools, colleges and exam boards want students to learn.

 

 

Overcoming these doubts just became rather urgent since (I’m delighted to say) Authors Abroad have now added me to their stable of writers who offer talks and workshops to schools. Hurrah!

Fortunately, this year I’m also training to lecture on fiction prose writing at FE level, so I have the luxury of an academic framework within which to research the issues and practice teaching under expert guidance.

As a learner, I know I have a top-down bias, preferring to see the big picture first and details later. This, broadly, should fit with the ‘model first, work backwards’ approach, which, I now discover, has deep theoretical roots.

Bath Spa’s amazing MA in writing for young people also taught me the immeasurable value of mind maps as a way to avoid linear thinking at too early a stage in a story’s development, so I’m hoping to adapt and adopt non-linear teaching techniques also.

 

 

First, though, I’m honing a ‘commercial’ fiction scene in order to model structure. It’s got a lead character with a defined goal, an antagonist with a diametrically opposed goal, conflict between the two, a turning point and a resolution. All in 275 words!

It favours implicit clues rather than explicit descriptions to draw the reader through the plot, relying on our innate human desire to read between the lines and solve a puzzle.

[In the past, I’ve been impressed how quickly students of any age zoom in on the turning point of a scene, and work out which character ‘won’ and which ‘lost’ from the slenderest of clues - a skill my favourite screenplay-writing gurus would attribute to our collective understanding of story, born originally of universal oral storytelling traditions and reinforced time and again in books, TV and film.]

How far this approach is adaptable to the exigencies of an examined curriculum I don’t yet know, but I’m keen to explore opportunities to guide students through the basics of structure, rather than trying to teach them something that many will already know, albeit subconsciously.

Another thing I’d like to borrow straight out of the commercial publishing world is this definition of story, first introduced to me by author, editor and mentor extraordinaire, Beverley Birch:

            Story = a character changing through conflict.

Some writers I know bridle at the apparent over-simplification of this definition, including people who love classical literature. But for me, as a working writer, it helps scale storytelling down to size.

“Changing a character through conflict” is do-able. It’s a solid platform from which to launch a story idea, and one which I think might give confidence to student writers who are just starting out.

Embracing this definition also paved the way for my greatest writing eureka moment to date when I read that plot and character are two sides of the same coin: after the inciting incident, plot is simply what happens as a result of the decisions, actions and reactions of the protagonist.

Before that epiphany I had plotted.

And plotted.

I’d twisted and turned my poor protagonist into ever more hazardous predicaments. But always I put her there. She didn’t have agency.

Understanding that she absolutely had to have agency at every major point in the story led, logically, to telling her story from inside her head, a fresh starting point which, ultimately, got me published.

I suppose what I’m saying, or at least seem to be saying as I write this post, is that there is no single ideal starting point. It all dovetails. Somehow. Hopefully. Perhaps all I can hope to do is present the practical benefits of different approaches to writing fiction with passion and honesty.

Am I in danger of extrapolating too much from personal experience? Possibly. Is it unrealistic to expect similar epiphanies to give joy to students of whatever age? Probably. I do know that I have a great deal to learn about learning, and have increasing respect for full-time teachers. How on earth do they do it?

As a writer, I hope - and deep down believe - that the tradecraft of writing fiction for mainstream publication will prove helpful in deciding what to teach in schools and colleges - if not how to do it!

What do you reckon, people? All and any tips gratefully received.

Twitter @houserowena

Website: https://rowenahouse.com/

Authors Abroad webpage: https://www.authorsabroad.com/author/rowenahouse/

 

Ways to Make your Writing Sing and Other Thoughts on Editing by Jess Butterworth

My writing goes through many drafts before I’m ready to show it to anyone. After all, as Roald Dahl said, ‘good writing is essentially rewriting.’ I’ve eased up on this in my workshops with other writers because with them I’m in a safe environment where our goal is to help each other create, but everyone else has to wait a long time before they’re allowed a peek at my work.

I began Running on the Roof of the World on an MA, alongside feedback from my creative writing tutors and peers. By the time my agent read it, the book had already been through eleven drafts (and it was about to go through many more).

Starting book two without that same MA support and safety net was scary, but after finishing one book I knew I was equipped with the tools to write another, which made it liberating too. Step by step, I finished a messy first draft and shaped that into a story.

Now I’m at the stage where I want to ensure my writing is the best it could possibly be, before I share it with my publisher. I’m editing, editing and editing.

Throughout this process I’ve written myself lists as reminders of everything I know and am learning. This one is inspired by children’s author, Steve Voake.

Ways to Make your Writing Sing

1.     Are the verbs doing the hard work they should be? For example, ‘he grabbed the keys,’ is more effective than ‘he quickly picked up the keys.’  

2.     Are there unnecessary filter words? ‘Tom slams his fist down,’ is often more immediate than ‘I see Tom slam his fist down.’

3.     Show don’t Tell. Allow the reader to feel what the character is feeling. Instead of saying that she feels shy, describe the body language or movement that might demonstrate it.

4.     Is every sentence revealing something about character or moving the story forward? Unintentional repetitions?

5.     Use the Active, not Passive voice. In an active sentence the subject is doing the action: ‘John chases Paul.’ In a passive sentence the subject is acted upon: ‘Paul is being chased by John.’  

Jess Butterworth 

@J_T_Butterworth 

Ty Newydd Writers' Centre - Eloise Williams

I FINALLY made it to  Ty Newydd Writers' Centre!

This isn’t a joke about the lack of trains from the South-West of Wales to the North of Wales and the circuitous route I had to take to get there at all. Honestly…

It is more about my becoming a writer at the tender age of (age has been deleted for vanity reasons) and embarking upon a completely new career. 

Ha! What an idiot!

Or was I?

Well yes, I was. But it turned out alright in the end. Well, so far anyway…

First I had to write deep poetry – some of which is so far beyond abysmal that I believe if I go to Hell it will be an ongoing reading of my own odious odes.

Then I wrote some short stories – these weren’t too bad, there’s one about a cardigan that’s passable.

A few pantos. Oh no you didn’t… oh yes I…. they were even worse than this. So I said to the horse ‘Why the long face?’ etc.

Then I tried my hand at some Adult Fiction. Not the erotic stuff. Just the everyday novel stuff. But no, no it wasn’t for me.

Eventually, on a long walk on a cliff path, literally on the edge, I had an epiphany of sorts. I should write for children! YES. That was not only where my heart really belonged it was also one of the only options left!

 

Since pulling myself back from the brink (I wasn’t suicidal, I’m just trying to write dramatically) I have gone on to have my book for 7-9s, ‘Elen’s Island’ published by Firefly Press in 2015 and next April I have a Middle Grade called ‘Gaslight’ coming out. It’s set in Victorian Cardiff and is a dark and scary mystery, also published by Firefly Press and supported by a Writers’ Bursary from Literature Wales. I also have a MG ghost story called ‘Seaglass’ which has been shortlisted for the Wells Festival of Literature Children’s Story Competition this year.

So that’s me…. until Ty Newydd.

 

You can look at the photo of the house to see how stunning it is. What that doesn’t tell you is that you can see the mountains from the garden. The sea is a glittering necklace beyond.  There is birdsong in the air, history in the walls, quirkiness all around and comfort, laughter (lots of) and other writers.  

 

I sat in an attic room with the skylight ajar watching the gentle rain falling softly outside the window. Apparently there was a heatwave on the other side of the country but as far as I was concerned they could keep it. This was just perfect.

 

Our tutors for the week were the immensely talented Lucy Christopher – I’ve just finished reading ‘The Killing Woods’, completely gripping and like Barry Cunningham, I didn’t guess either! – and the equally immensely talented Marcus Sedgwick.

‘The Book of Dead Days’ is my current reading material and I already have a favourite line, ‘He felt old and tired and fat, because he was’. Ha!

 

Both tutors were thoroughly delightful. So approachable and friendly and phew! To all of it. I didn’t feel like a spanner or a plank as I still so often do. I just felt comfy. For people who know me this is an unusual state of being for me as I tend to be an accomplished worrier.

There is something about the place that seeps into your bones. It welcomes you with its labyrinthine stairs and turrets. It cwtches you in.

 

It taught me a lot of things. That it is okay to switch off from ‘real life’ to dedicate time to my writing. That I am not all that weird for wanting to do just that. That I still have a huge amount to learn (thank God!). That North Wales could very definitely take on South-West Wales for beauty, inspiration and charm (have booked a holiday there already). That I need to learn Welsh (have finally taken myself onto a fast-track course – wish me luck). That we are all story-tellers and that stories are one of the most important components of my life. That Tony, the chef, should have his own television series. That I need to go on another course at Ty Newydd! My only regret is that I didn’t go sooner.

The whole career change has been a huge learning experience for me. And I mean HUGE. But it is with the support of Ty Newydd and Literature Wales, the lovely tutors and staff, the time and space and energy there that has really made me realise what an important path I’ve chosen. It’s a place where Literature is respected in all its forms. It’s a very special place. Very special.

Highly recommended. So, so highly recommended. Did I say I highly recommend it?

And there’s one more thing (she says like Columbo) …

 

 

GO THERE! GO! REALLY! GO!

Turn your passion into a book - Lynne Garner

My latest non-fiction title
published 24th October 2013 

I'm continually surprised by the number of students who tell me they would love to write a non-fiction book but don't know anything. They don't believe they know anything worth sharing in a book. When I hear this I tell them a story, which I am now going to share with you.

Once upon a time there was a man called Gavin Pretor-Pinney and he loved clouds. He decided he'd write a book about them and get it published. He approached publisher after publisher after publisher, 28 in total. But he didn't give up. He knew that if he loved clouds there must be others who also enjoyed clouds. Finally one day he found a publisher who saw the merit of his book. In 2007 his book 'The Cloud Spotter's Guide' was finally published. It became a surprise international best seller. It was so successful that it is now available in twenty different languages. It has also spawned The Cloud Appreciation Society and other books such as 'Clouds That Look Like Things' and 'The Cloud Collectors Handbook.' If you don't believe me then visit http://cloudappreciationsociety.org

Why am I sharing this with you?

Because I wanted to demonstrate how an author took a simple idea, a passion he had and turned it into a successful book. So a non-fiction book does not have to be about your hobby (although it could be), it doesn't have to be a cookbook (although it could be) and it doesn't have to be a self-help book (although it could be). It could be any subject you know something about and feel you could write about in a manner others will enjoy.

So why not give it a go? Turn your passion into a book and share it with the world.

Lynne Garner

I also write for The Picture Book Den and Authors Electric 

Blatant plug for my distance learning writing courses starting 2nd November:

How To Write A Picture Book And Get Published

Five Picture Books In Five Weeks - Advanced 

How To Write A Hobby Based How-to Book

Ten Reasons To Be A Writer - Lynne Garner

I recently read a blog post by author Matt Haig giving 10 reasons not to be a writer. Some of the reasons I admit I agree with, these include:

Number one:
They have bad backs.

Number four:
Financial uncertainty. Writers don't get fixed wages.

Number seven:
Dan Brown, Dan Brown ... 

Note:
Although as a children's writer mine are The Hungry Caterpillar and The Gruffalo - don't get me wrong I love these books but please book shop managers there are other good kids books out there.     

However writing for a living (who am I kidding, I refer you back to number four) does have a  lot of positives. So here are my ten reasons to be a writer:

Just two of my friends, Dog and Boris 

One:
I get to create my own friends. Although they only live in my head I can have fun with them, laugh with them, cry with them. I was there at their 'birth' and just when I think they've grown up and left they pop back for a visit and insist on telling me a new story.

Two:
As a writer I get to share my imaginary friends with family, my real world friends and even people I'll never meet.

Three:
I can legitimately sit on a park bench musing, cogitating and pondering and call it work.

Four:
Family and friends are always eager to share amusing anecdotes with me and often will add "you can use that in your next book." And I have!

Five:
Writing is the cheapest form of therapy I know. When I'm mad I write, when I'm sad I write, when I'm happy I write and when I'm done for the day I feel better - even if what I've written will never be used.

Six:
As a writer I get to play. Play with ideas, the lives of my characters and with words.

Seven:
I can get your own back on someone by 'hiding' them in plain sight. They may never know but that doesn't matter - I refer you back to point five.

Tasha enjoying a game of ball

Eight:
I can sit and work in my dressing gown until noon and not feel guilty because if I leave my keyboard I'll 'ruin the flow.'

Nine:
I'm never stuck in a traffic jam or have to de-ice the car. The most treacherous part of my journey is stepping over the dog as she sleeps.

Ten:
I get to plan my day. If I want to take Tuesday afternoon off to take advantage of 'cheap Tuesday' at the cinema I can. If I'm not working to a tight deadline I can take the dog for an extra long walk on a gorgeous sunny day and play ball. I can simply make up those hours later in the week when I chose to.  

So that's my ten reasons to be a writer. Do you have any to add to the pot?

Lynne Garner

P.S.

I have three new distance learning courses commencing on the 6th July via Women On Writing:

How To Write A Picture Book And Get Published

Five Picture Books In Five Weeks - Advanced Course

How To Write A Hobby Based How To Book