Write a brilliant novel by asking the right questions – guest post at The Creative Penn

Questions…. they’re the reason a reader gets intrigued by a story. And, at the author’s end, the writing process is an entire cycle of questions, big and small, some arising out of other questions. Some of the process is figuring out the right answers. Some of it is figuring out what to ask in the first place.

If that sounds like a conundrum, some of the most important questions are conundrums in themselves. Confused?

Today I’m at Joanna Penn’s Creative Penn blog, attempting to make sense of all this. Do come over.

PS If you’re curious about the latest doings of my own creative pen, here’s my latest newsletter

Advertisements

, , , , , , , , , , , ,

1 Comment

I adore the internet but I’m not a phone person – essay in Live Encounters Poetry & Writing

A few weeks ago, Mark Ulyseas asked me to contribute to his poetry and writing magazine, Live Encounters (Mark has an adventurous history as a ghostwriter, advertising copywriter, newspaper columnist, photographer, traveller, author and he wears a great hat).

To begin with, I didn’t have a clue what I’d write about, but a contribution in the March issue caught my eye: My Phone, My Life by photographer Jill Gocher.

Aha, I thought. I do have something to say. With full respect to Jill, whose photos are enchanting, here it is. Although I adore the internet, I am Not A Phone Person.

In the piece, I mention a conversation with a friend, Caroline. When she read the article she said: ‘You missed out the part where I was banging my fist on the table and shrilly screaming “When I win the lottery I will buy you a smartphone and MAKE you use it!” ‘

Maybe you’re a phone person, maybe you’re not. Anyway, if you want to join the conversation, the piece is here and you can comment (like Caroline or not) here!

, , , , , , , , , , , , , , , ,

12 Comments

Not going to AWP19 – try 7 authors free on audio for your commute

Right now, the annual conference of the Association of Writers & Writing Programs is taking place in Portland, Oregon, a mecca for writers, teachers, writers-in-training (actually that’s all of us anyway, we never seem to stop training).

Meanwhile in the ether, another event is afoot. Literary editor, critic and tireless author John Madera (tweet him as @aredamnhoj) has convened an alternative AWP for his podcast Jamming Their Transmission, on his site The Big Other (he has a lot of web territories!).

He’s handpicked a set of literary folk to give short readings (less than 5 minutes each) to let the world hear their work, in their own voices, and he’s publishing them as half-hour podcasts during real AWP. I’m thrilled to be one of the authors on part 3 and you can hear me read a piece from Not Quite Lost.

I’m even more thrilled to be sharing the stage with six exciting poets, memoirists and novelists, who are Tony Trigilio, Valerie Nieman, Kallie Falandays, Seth Berg, Cris Mazza and Michael A Ferro. Find our episode and the rest of John’s programme here.

, , , , , , , , , , , , , , , ,

Leave a comment

Are creative writing degrees relevant in 2019’s publishing climate? The honest truth

The publishing world is moving faster than ever. Have creative writing courses kept pace? That’s the angle I’m considering this time in my series of interviews with creative writing professor Garry Craig Powell.

If you want a career in mainstream publishing, will a course equip you for that?

If you want a traditional deal, will a creative writing qualification make that more likely?

What about the indie world – does a creative writing degree confer any benefit, advantage or prestige?

If you decide to be master of your own work, will a degree help you do it more wisely and effectively?

Now that authors have to do so much platform-building for themselves – whether indie or traditional – have the academic departments kept up with these new demands?

As usual, Garry is patient and thoroughly candid and the discussion can be found at Late Last Night Books. It’s part of a longer conversation:

Part 1 Should you take a creative writing degree?

Part 2 How to choose a creative writing degree

Grab coffee and come over. As always, the comments system at Late Last Night Books is tricky to negotiate, but if you’d like to add to the discussion or ask a question, type it here!

, , , , , , , , ,

9 Comments

7 ways to write with confidence – guest post at Ingram Spark

Some books never get out of the writer’s mind and onto the page … and when IngramSpark heard about my new workbook, they thought I might have some advice. Voila, 7 essential points for writing with confidence, which you can see over at their blog. Actually, I didn’t expect to be in your inbox again so quickly after the previous post, but launch times always get a bit frenetic.

Actually #2…

Special offer!

This extra post also lets me share a sudden, mad offer. This weekend, in honour of the Bookbrunch Selfie Awards, I’m having a flash sale for my novel Lifeform Three – which a few years ago had a nibble at a very prestigious award (I’ve never been able to tell the story before, but you can find it here).  For this weekend, the Kindle edition of Lifeform Three is  just 99c. Grab it now!

, , , , , , , , , , ,

3 Comments

Ways of seeing: 11 poets to help you polish your prose – an interview

How do we develop a sensitivity to language? Words are more than tools. They beguile, mystify, change hearts, fill the mind with shapes, colours, music.

I’ve written before about honing your prose, according to your genre. The full piece is here, but in brief:

  1. Strive to be understood
  2. Develop an ear
  3. Suit the genre
  4. Find books whose writing you want to study and savour
  5. Try many styles

Today I’m going to explore another tip. Read poetry.

My guest today is well qualified to talk about this. Joe Nutt has spent his career teaching English in schools, and is now one of the leading educationalists in the UK. He has written study books on Shakespeare, John Donne and Milton. He writes for the Times Educational Supplement, The Spectator, Spiked and Areo.

He’s now on a mission to open poetry to everyone, not just academic students, and is about to release The Point of Poetry, published by Unbound.

And since he’s raised the question with his title, I’ll ask that first – Joe, what is the point of poetry?

Joe There is something honest and pure about poetry. It’s as though there is almost nothing between you and the poet’s mind, just this thin piece of paper. They let you into their thoughts and their thoughts make you think for yourself.

Roz You certainly don’t have to convince me; I never think I’m writing well enough, so I have a row of poetry books beside my desk that I dip into when I’m working.

For the purposes of this discussion, I’ve figured out a list of qualities for good prose and I’m going to ask Joe to prescribe a poet or poem for each.

First of all, the visual shape of words… A word that is perfectly shaped for its context

Joe There are some poets who seem to care deeply about the look of a poem on the page and that visual awareness can sometimes be seen on a much smaller scale, within individual lines or even just phrases. When you look at a poem by Thomas Hardy the neatness and order of its visual pattern is often striking. But ironically, perhaps the easiest poet where you can see the visual shape of words playing a part is Gerard Manley Hopkins.

Part of the reason is his extraordinary appreciation of the sounds words make when they combine. In his poem Inversnaid, for example, you have the line

Dagged with dew, dappled with dew’

where the letters themselves, the way they look, seem to demand your attention.

Roz The letters demand your attention… the shape of a letter, or the combination of letters.

One of my favourite examples is the word ‘feral’, which jumps into your eye as ‘fear’ and ‘snarl’. Words contain emotional shapes.

I’m especially aware of this when I’m editing another writer’s manuscript. A writer might choose a word that’s correct in literal meaning, but inappropriate in that other, visceral register, and usually in a comic way – they might describe a loud and sudden sound in a way that ruins the mood of their piece.

Joe That’s so true of such a lot of mediocre writing I see. One of the great advantages of teaching English, as I did for 20 years, and to many remarkably intelligent children, is you get to see the most common mistakes. You become extraordinarily familiar with people who are naturally struggling to express themselves. I think literary agents could learn a lot from experienced English teachers.

Roz Well that’s a discussion I’d like to have some day! For now, though, let’s discuss my next poetic essential: the fall of a line, word positioning for emphasis.

Joe Hopkins again offers a great window into this meticulous use of structure in a poem.  He often repeats words in close proximity or uses words that are just one vowel change off. In the final verse of Inversnaid, which is only four lines long, he uses wet and let twice each, but ends the verse and poem with yet. Small shifts in sound but complete shifts in sense.

Roz Repetition: it’s a powerful device because it’s so noticeable.

Here’s another careful kind of structuring – the sentence that is oddly, but perfectly worded. Look at the delicacy of these lines in Philip Larkin’s poem Broadcast:

Leaving me desperate to pick out

Your hands, tiny in all that air, applauding.’

Now to my third point. What about metaphor? Nominate an example of an arresting metaphor?

Joe It’s difficult to think any poem beautiful without discussing metaphor and poets like John Milton erect monumental metaphors that can waylay an inattentive reader. But a much simpler one from The Point of Poetry would be from George Mackay Brown’s poem The Hawk. The poem is a little diary of one hawk’s eating habits and one of its victims is a chicken which dies,

Lost in its own little snowstorm’.

I once saw a sparrowhawk strike a pigeon in full flight, only a few feet in front of my windscreen, so I know exactly how that metaphor works.

Roz This leads me, so neatly, to my fourth point… The particular moment that seems to illuminate a truth about the bigger human experience…

Joe Lots of poets start with the natural world. Poets like Ted Hughes or Seamus Heaney, and when you become familiar with their work they frequently start with the local and specific, but move towards the universal.

Heaney’s poem Blackberry-Picking, which is in the book, takes what was certainly a common feature of my childhood, scavenging hedgerows for blackberries, and turns it into a powerful observation about how we yearn for things to stay as they are, but learn to appreciate the transience of pretty much everything.

William Blake also searches for significant truths in his verse, even when he starts with just a single rose or a tiger.

Roz For my fifth point, I want to talk about economy. I love this poem by Simon Armitage, which plunges you into the middle of a conversation with the writer’s thoughts…

Before you cut loose, put dogs on the list of difficult things to lose….’

It’s so bold, so colloquial, so conversationally crafted. It’s also so macroscopically true, but that’s not what I want to discuss in this point. I want to talk about how swiftly it gets to the point. Do you have a favourite example of a poem that hits the ground running?

Joe Economy is the perfect word for poetry. The cost is low but the return is just huge. That’s really what distinguishes it from all other types of writing. Poets pare everything down to the absolute essentials.

I’m a great fan of John Donne and his love poem, The Feaver, is an absolute gem. You can’t read Donne’s poetry without feeling he was a man who lived a life of extremes. A brilliant apostate whose career and financial security were destroyed after he was imprisoned for falling in love with his boss’s young daughter. Who then married and brought up a large family with her, before losing her to death in childbirth and finally joining the Anglican priesthood, more or less at the command of his king. The Feaver begins with this dramatic plea

O ! Do not die, for I shall hate

All women so, when thou art gone.’

Roz Tell me what I’ve missed.

Joe I think one of the often undervalued joys of poetry is how much we gain from rereading it. I love rereading favourite novels but only after I’ve let years pass between readings. Poetry you can return to the next day and feel differently about it, still find something new.

Roz Your book is obviously a personal crusade. Tell me what made you write it?

Joe It came about as a result of my changing career. After almost 20 years teaching English I moved into business and was struck by how limited conversations are in that world. People often ask me if I miss teaching and I always say no, but there is one thing I really do miss, the quality of the conversation. The people were just as varied and interesting as those I had found as a teacher, but conversations in the hotel bar after a day’s work stuck to a few, narrow subjects. Work, occasionally politics, sport, films and TV – and if you were really lucky the odd book, but mentioning poetry was almost social suicide.

I realised then that the world was full of perfectly well-educated adults, who bought books and even read them, but who would never even think to glance at the poetry shelf in Waterstones. Somehow, even though their schooling had included verse, it had completely passed them by as something to read later in life. If they remembered anything at all from their school experience it was probably with regret or confusion. That seemed such a waste to me, so I set about writing a book specifically for metrophobes, to show them what they’ve been missing.

Roz I wonder why that is? I have a theory, though I can’t know if it applies to anyone but me. Here goes. I might be about to make an idiot of myself.

At school I studied TS Eliot and although I found his work haunting, it was more because of its linguistic novelty than its meaning. It was like breathing an unusual kind of air, but not something that spoke deeply to me. Now I’m much older, I feel I understand more of it – and I’m probably closer to the life experiences that brought it out of Eliot in the first place. At the age of 15, though, I couldn’t possibly be.

I think there’s a lot of poetry that comes from an older place that we maybe need to catch up to. Perhaps that’s also a case for giving poetry a second try when we’ve lived a little.

Joe As I was writing the book, I realised that it was also culturally very timely. I think we’re still barely coming to terms with the devastating impact technology has had on the way we now use language, in every area of cultural life. If I was teaching English today I would be very concerned to study the way technology has changed language use. It’s a bit like a binary weapon. The screen or the phone by itself is perfectly harmless, but combine it with a bit of social media software and all hell breaks loose. When you know a lot about poetry, at least you know how to defend yourself.

Roz Some examples?

Joe I think the entire concept of a ‘hate’ crime has come about this way. People have learned that technology allows them to weaponise individual words and that’s much more powerful than debate and argument which takes time, effort and intelligence. Politicians have weaponised that word ‘hate’. One of the things I was surprised by when I first left teaching for business (and a lot of my work was with technology) was the way some people genuinely thought less always means more. I’d find myself quietly thinking, ‘But some ideas actually require quite a lot of words, in quite complex structures’. I’ve done a lot of commercial bid writing for businesses and it’s funny how few realise it’s all about the quality of the writing. I once scored 7 marks for a question with a maximum possible score of 6. A US business employed me as ‘lead writer’ a few months ago because they actually got that.

It would be easy to embark on a list of examples from the murky world of identity and gender politics, but politics has never interested me; words do. Not only are they our only internal means of understanding anything, apart from touch and maybe music, they are our only external form of human currency. Everything we exchange with others, our closest family members and our fiercest public opponents, is priced in words.

Examples aren’t difficult to find. Choose the wrong word as an academic and you may find yourself denied both your right to free speech and a speaking engagement. Tweet or post one wrong word on Instagram or Facebook, even if you’re a teenager just getting to grips with the world and with words, and you may find yourself being interviewed by the police and banned from a platform, accused, tried and found guilty in not much longer than it took to type the offending word. Never mind that you sincerely thought you knew what the word means, or that the employee of the social media business who has to make the decision to ban you, will themselves have the reading age of a 12-year-old and be working from a checklist. Use a wrong word about your latest young adult novel and it will never see the light of day and fans will be demanding your apology. Reading poetry prepares and protects you from this. You know all the tricks, or at least many of them, because great poets are also great inventors.

Roz Final question. Do you write poetry yourself?

Joe Definitely not. I experimented a little when I was a lot younger but quickly recognised this was a skill I simply didn’t possess. I did once successfully write a few poems which you could read left to right or right to left, thinking that was really original and clever. A few years ago I came across a small modern volume of verse by a little-known poet, in which every poem could be read in either direction. They weren’t much good.

You can find Joe on Twitter @joenutt_author and on his Facebook page. The Point of Poetry is available from Amazon.

PS If you’re curious about what I’ve been up to, while furrowing my brow over volumes of poetry, here’s the latest edition of my newsletter.

 

Also… my Nail Your Novel Workbook is now available as an ebook! Meanwhile, do you have any questions you’d like to ask Joe or favourite poems to share? Let’s discuss.

, , , , , , , , , , , , , , , , , , , ,

6 Comments

How to choose a creative writing degree – the honest truth

We all find our own paths when learning to write. For some, a creative writing degree is the right one. Last year, when I fell into an email correspondence with creative writing professor Garry Craig Powell, I couldn’t resist asking some cheeky questions about his corner of the literary world – and he was game to answer them. I thought it was a conversation that would be useful to you guys… hence this series. We’re publishing it in parts at Late Last Night Books.

Last time, we discussed who might get real value from a creative writing degree (and, by extension, who wouldn’t).

This time, we weigh up how to choose a course. Including:

How to make meaningful comparisons between courses at different institutions.

Famous tutors – how much of their time will you get?

How much might the course cost you?

How are students selected – are you sure you’ll get in?

What are most students writing …

… and a few other things!

Grab a beverage and come on over.

And if you’ve taken a creative writing degree yourself – or considered it and decided not to – do share your experiences in the comments here. Also, post any questions you’d like us to tackle. If they’re not in one of the interviews, we can gather them into a special at the end. 

, , , , , , ,

6 Comments

It’s a workbook! Unlock your book’s full potential and finish like a pro

In my previous post, I mentioned how I’ve just hit my ten-year blogging anniversary and the surprising things that brought. So it’s high time to revisit the first book I ever published under my real name – and today I’m proud to present the Nail Your Novel Workbook!

(The title’s a bit longer than that… Nail Your Novel: Draft, Fix & Finish With Confidence – A Companion Workbook.)

It enlarges the 10-step process in Nail Your Novel Original, with expanded questions to tackle all the creative stages. I’ve added sections to help you discover your best writing method, beat writer’s block, squeeze maximum originality out of your idea, keep yourself on message when the manuscript is having a rest. And an in-depth workshop to help you find a knockout title. It’s a contract with yourself to produce your best possible book.

A proper post is coming tomorrow – continuing the in-depth interview with creative writing professor Garry Craig Powell. Last time we asked when – and if – it’s worthwhile taking a writing degree. This time, we’ll be discussing how to choose one.

In the meantime, have fun with the new book – and if you want to take pictures of your workings, I’d love to see them. x

, , , , , , , , ,

4 Comments

Because I started a blog – 10 years as an accidental citizen of cyberspace

This time a decade ago, I was starting a blog.

I was rather surprised to be doing it.

I was not an online person. I did not tweet or Facebook. The internet hardly touched my daily life. I was fully and gainfully occupied without it. It might as well have been a separate and mythical dimension, like hyperspace.

But on a wet evening in February 2009, I was with a friend who had a worldwide reputation in his creative niche. He ran this thriving empire through the ether, from five well-visited blogs.

When he said ‘let’s make you a blog’, I said yes.

I was suspicious of the blog thing, because I am never an early adopter (see above) and also because I disliked the word ‘blog’. (Still do, if I think about it.) But I’d just come out of a mind-whirling experience (you’ll know this if you’ve read Not Quite Lost).

My blog helped complete the transformation.

Before the blog, I was an author in limbo. Skip this paragraph if you know my origin story, but in 2009 I’d just found an agent for my first novel. Before that, I’d ghostwritten novels for other people. Now I hoped I’d be published as me and start my proper career at last.

Alas, publishers wanted New Real Me to be like Old Ghostwriter Me because that was profitable. (Psst…. if you want to be like Ghostwriter Me, you might like my professional course )

And so I remained, both published and not; an author but not really – unless I denied my own creative drive.

That changed when I became a blogger.

  • On my blog, I could be whoever I wanted, and I would decide who that was.
  • On my blog, I did not have to wait for anybody’s permission.
  • Once I had a blog, I had a place to invite people to, a room of my own, a gallery to say who I was. I could go to other blogs and chat – anyone’s I liked.

Through my blog, I made many friends. I grew confident in my own aesthetic judgement as a publisher. I gained the confidence to publish books on writing, my novels and to vary my genres because I could bring readers along on the journey. (Contemporary fiction, speculative fiction, travel diaries… what next? Whatever I like.)

Bloggers have a gung-ho have-a-go mentality.

Because of this, I discovered I could speak on podcasts without microscripting everything first. As I am a fanatical polisher and editor, speaking off the cuff was squarely in my discomfit zone. Eek! Spontaneity! But bloggers feel the fear and do it anyway. This became professional speaking and teaching gigs both in indie world and beyond. Which I discovered I rather enjoyed.

So this blogging anniversary is significant. A marker of big life changes.

Now in 2019, is blogging still as powerful for authors starting now?

Maybe, maybe not. We still need ways to gather readers and discover common ground, but I think much of this now happens in the speedy, flitty public spaces such as Twitter and Facebook. I think blogs are still read because subscriber numbers are still growing (thank you, guys!) but the commenting is no longer as fervent – if I look back at old posts I’m astonished to see hundreds of comments on one topic, which now seems inconceivable. I feel authors still need a website as a home base and a blog to show they’re alive, but the more settled communication now happens in email newsletters (psst … here’s mine).

(And is that a new book you see there? Indeed it is. Hop onto the link to find out, straight from the horse’s mouth.)

What do I expect in another ten years? I have no idea. I’m not a goal setter, except for individual projects where my goal is simply to finish them well.

I could never answer that question in job interviews. ‘Where do you see yourself in x years?’ A truthful answer would betray that I hoped to have graduated far beyond their job, doing something that was much more ME. Though I couldn’t have said for sure what that was.

Now, though, I’d say that in another x years I hope to be doing this, or something like it, and doing it better, and finding other related activities I can add around the edges.

I’ve found what I was looking for. Creative integrity, confidence and independence.

Which I think shows that 10 years of blogging has been a jolly good move.

Do you blog? How long have you blogged for? If you’ve been blogging for a while, have you noticed any general trends? What has it brought you?

, , , , , , ,

37 Comments

Should you take a creative writing degree? The honest truth. An interview

There are many ways we can learn the art and craft of writing. One is a dedicated degree course, either at bachelor or postgraduate level. But what do they give you that you can’t get in other ways?

Last year I got in conversation about this with creative writing professor Garry Craig Powell – you might recognise him because he’s been an Undercover Soundtrack guest and interviewed me about Not Quite Lost. So I thought it would be good to write a proper, in-depth interview about it – and it turned out to be very long!

We’re publishing it in parts at Late Last Night Books. In part 1, we chew over the following questions, with actionable points at the end –

What are the benefits and limitations of creative writing degrees?

What experience level should a writer have so their work is enhanced rather than forced into a standard mould (the often-derided MFA novel)?

As writing is largely self-taught, do writers need formal teachers?

Misconceptions about creative writing teachers!

Thanks for the pic, Pixabay

Come on over!

And if you’ve taken a creative writing degree yourself – or considered it and decided not to – do share your experiences in the comments here. Also, post any questions you’d like us to tackle. If they’re not in one of the interviews, we can gather them into a special at the end. 

, , , , , , , ,

14 Comments