On the train heading back from Yorkshire, I’m wondering how long it will take before everything I’ve learned on Arvon’s “Fiction: Work in Progress” course soaks in. Myself and fourteen other budding novelists spent six intensive days holed up in poet Ted Hughes’ former home, Lumb Bank, doing workshops, readings, one-one-ones with expert tutors, Q&As and much more. I’m exhausted just thinking about it!
We were lucky to be under the guidance of James Scudamore and Adam Foulds for the week – I won’t list all the literary prizes they’ve won or been shortlisted for, as that would merit a blog of its own. But we were in safe hands. The stunning woodland setting of the Arvon centre and ceaseless sunshine certainly helped inspire too. My fellow writers were all working on a variety of projects, but the one thing everyone had in common was friendliness and plenty of moral support (we’ve all promised to keep in touch afterwards).
In between being spoiled with delicious, fresh homemade meals (who can write well on an empty stomach?), we did interactive workshops on themes including character, point of view, voice, structure, and oblique strategies for unblocking creative ideas.
My favourite exercises and writing tips included:
· Exploring a significant childhood memory for character
· Producing a ‘creative brief’ for your novel, featuring a 9 word summary, key question it asks, and how you want it to make your reader feel.
· Taking nouns and verbs supplied by another group member and using them to finish a scene you’ve found challenging
· What is your favourite thing about the novel you’re writing?
There was also some free time to write, and I finally managed to crack a tricky novel scene I’ve been blocked on, and got to know one of my main character’s much better.
An extra bonuses of the course was a visit from guest speaker Evie Wyld, who’s talk went on fascinating tangents, ranging from her passion for sharks, to New Zealand serial killers and family scandal (do check out her inventive graphic novel ‘Everything is Teeth’).
The fantastic week ended with everyone performing readings from their works in progress which was quite an emotional finale to the course – and an excuse for lots of wine!
I’ll leave you with this inspiring piece of writing advice:
“Don’t tell me the moon is shining; show me the glint on broken glass.” Anton Chekhov.
It’s that time of year again! With London Book Fair kicking off tomorrow, here’s my round-up of advice to help you survive one of the busiest weeks in the publishing calendar…
London Book Fair @ the Olympia in Kensington
1) Wear comfy shoes
This may sound pretty basic, but trust me, you’ll be grateful for this tip after spending hours walking for miles around all the exhibitors’ stands across the three vast floors of the Olympia.
2) Plan plan plan
Did I mention plan? With such a hectic programme of events, it’s definitely worth having in mind what your must-sees are before turning up. But above all, plan to leave some time when you have nothing planned! That way you can be a bit spontaneous if someone recommends an unmissable thing to do at the last-minute.
3) Download the LBF app
The app was worth downloading last year, as I could save my fave talks into an online diary, and use it to schedule meetings with other delegates too. Just don’t forget to print a map off as well, in case wi-fi decides to play up!
4) Pack a bottle of water (or two) and lunch
Last year, I found myself with about ten minutes to get from a translation panel event to a literary festival talk three floors above. Luckily, on the advice of an LBF veteran, I’d popped a pre-made bagel in my handbag, to avoid missing the event while queuing for food and beverages. Also, it’s surprisingly thirsty work strolling around stalls and chatting to a bunch of literary types…
5) Bring a phone charger
Ok, this might be stating the obvious, but I saw more than a couple of distressed publishing types desperately trying to make calls on a drained battery. If you’re fortunate enough to see a spare socket (I found a couple of quiet ones on level 3), then pounce on it and make the most.
6) Don’t miss the Author HQ
Authors are at the heart of the publishing industry, so it’s no surprise that LBF has a range of must-see talks, seminars and events aimed at writers in the Author HQ.
7) Avoid the lifts
It can be tempting to take the lifts after a knackering day on your feet, but it’s not the wait as hundreds of people try to use them daily (whilst they argue with the lift operator about whether it should go up or down). Just put your best foot forward and take the stairs.
8) Get tweeting
Who knows what bigwig from the literary world could end up retweeting or favouriting one of your pics? Plus you’ll get a bunch more followers if you keep up with the goings on using the LBF hashtag (#LBF17, if you’re wondering). It’s a good way to remember what you got up to and who you connected when you look back in a few months time too. Make the most of online and face to face networking.
9) Remember business cards
This might seem a bit formal, but do you really want to scrawl your name illegibly on a torn notebook page when you’ve finally got a moment with that sought-after agent/ publisher/ author (delete as appropriate)? Didn’t think so.
10) Embrace getting lost
Let’s face it, in a venue the size of the Olympia, it’s impossible not to. You might get pointed in the wrong direction a few times too. Use it as an excuse to see who (or what) you might stumble upon on your travels.
11) Don’t mistake it for a careers fair
This isn’t the place to be waving CVs under harangued publicist’s noses, or dumping a manuscript in front of an agent in the middle of an important rights meetings. They’re here to do business, not get you a job or book deal! By all means network, drop people a tweet, and follows things up with emails where appropriate. But try not to be pushy to the point it’s just annoying, and pick your moment for those job approaches…
12) Have fun!
Some people will inevitably be sweating over make or break book deals. But it’s worth remembering this is also a great day out surrounded by like-minded people who are passionate about publishing too. So however busy you are, take a moment to enjoy it.
Hope you liked these tips, as inspired by previous LBF experiences. Feel free to share some of your own suggestions in the comments below!
I recently read One Last Wish by Ella Harper – who went from banker to bestselling author. She managed to swap the cut-throat corporate finance world for heart-rending romances. This got me thinking about which other authors have undergone a complete career make-over on the path to writing success…
1) Douglas Adams worked as a bodyguard:The Hitchhiker’s Guide to the Galaxy author was responsible for the security of a wealthy Arabian family to help make ends meet while writing for radio shows and Monty Python.
2) Octavia Butler was a potato chip inspector: Before achieving success as a Hugo and Nebula award-winning science fiction, Octavia held down this and number of other day jobs – including dishwasher and telemarketer. She’d get up at 2am (!) to write, and clearly her hard work paid off with over one million books sold worldwide…
3) Stephen King was a janitor: His road to writing success wasn’t easy either. King juggled jobs in a laundry, high school and gas station whilst living in a trailer. But it was his stint as a janitor that inspired the novel Carrie and ultimately led to his big break.
4) Nicholas Sparks sold dental products: The road to bestselling success with The Notebook was reached through dental phone sales, amongst other odd jobs. At least the actors in the movie adaptation all had great teeth…
5) Margaret Atwood worked in a coffee shop: Margaret’s story should give hope to every barista out there who’s dreaming of seeing their novel on book shelves as they make their hundredth soya milk latte of the day. Imagine all the intriguing conversations you could ear-wig on and poach for your novel!
6) Harper Lee was an airline reservation clerk: After dropping out of a law degree, Harper took up a job for an airline by day so she could write at night, before To Kill a Mockingbird took her soaring to literary heights.
We all have that friend who’s totally book obsessed, but is always complaining they have a To-Be-Read list that takes them about a decade to wade through. So to help you out, here’s my rundown of top bookish presents that don’t require them to read a single word!
These stunning floating bookshelves are perfect readers with their heads in the clouds
Check out this bloody brilliant book mark – a gory gift for lovers of crime fiction
If you’re feeling generous, this book tent is ideal for anyone who likes adventures off the page as well as on them
Know someone who’s addicted to leafing through second hand book shops? This page-turning fragrance means they’re never more than a spray away from indulging in the habit
For those who appreciate the hand-made touch, don’t miss this gorgeous guide to crafting your own Christmas star for a special someone (or just treat yourself!)
Got a mate who feels ashamed of loading their Kindle with bargains instead of holding a classic tome? Then they’ll appreciate the British Library Classics e-reader covers collection
Ok, maybe I’m cheating a bit here because this is more for writers. But how could anyone with a passion for words resist this gloriously inventive twist on the traditional blue and white lined notebook
Help transport any regency literature fans you know into the gardens of an English manor with this Jane Austen themed floral scented candled – and there’s a whole library worth themed around other well-loved authors!
Are you currently in Christmas-gift mode, looking for the perfect festive pressie for a book-lover in your life? Here’s my round-up of some of this year’s most beautiful covers, which are guaranteed to have avid readers swooning over them!
The Essex Serpent by Sarah Perry (Serpent’s Tail)
The design evokes a rich, detailed tapestry which perfectly matches the finely-wrought historical prose within.
Rebel of the Sands by Alwyn Hamilton (Faber & Faber)
This epic, magical adventure deserved no less than such an enchanting and mesmerising cover. I’m already counting down until the next book in this sweeping YA series comes out…
The Vegetarian by Han Kang (Portobello Books)
There’s something brilliantly visceral and unsettling about the cover of this Man Booker International Prize Winner: a torn wing lies on a web of glossy red veins. It encapsulates Deborah Smith’s unnerving translation of this provocative work.
This Census-Taker by China Mieville (Picador)
The image of mountains shrouded in mists perfectly evokes the dream-like qualities of this dark fable, and it’s mysterious (post-apocalyptic?) setting.
The Amber Shadows by Lucy Ribchester (Simon & Schuster)
I was utterly charmed by Lucy’s Victorian mystery caper The Hourglass Factory, and her next book didn’t disappoint. The silhouetted figures and shadowy rendering of Bletchley Park on the cover promise readers a war-time espionage thriller to keep them gripped.
Cogheart by Peter Bunzl (Usborne)
Last but certainly not least is this steam-punk page turner that’s alive with clockwork curios, gripping escapades and inventive touches. Fans of Phillip Pullman young and old won’t fail to enjoy this spellbindingly realised world (and gorgeous papercut cover).
HONOURABLE MENTION: The Watchmaker of Filigree Street by Natasha Pulley (Bloomsbury)
Ok, so technically I haven’t included it in my top 2016 round-up, because I first fell in love with the hardback edition cover that came out last year. But this summer saw the paperback release of this enthralling and intelligent historical fantasy, and it’s still a treat for book-magpies like me who can’t resist a shiny new cover…
It is a truth universally acknowledged that a book in possession of good qualities must be in want of a review. Well, maybe not quite universally… I know a number of avid readers who’ve never left a review for a novel they’ve fallen for. At most, the cover might end up on Instagram, or the book will find itself passed on to a friend. Amazon, Goodreads and retailer websites remain untouched. Anyone reading this who works in publishing like myself knows the importance of book reviews not only to sales, but also as a way to brighten an author’s day as they see five stars shining back at them!
So why don’t more people review? I think a key reason is that the everyday reader (who happens not to run a book blog) doesn’t know where to begin with writing one, so it feels like too much effort – even if they could talk about it perfectly eloquently over a cocktail. In the spirit of this, here’s my attempt at offering a guide to writing a novel review, and my attempt to answer the question of what makes a good critique. Feel free to share your own thoughts in the comments section. And most of all, don’t forget to get reviewing!
Finish the book first: It’s my pet hate when I see one star reviews for books with comments like ‘First chapter didn’t grab me. Gave up.’ It doesn’t do justice to the author or their work, and I don’t think you can get a true feel for a novel without taking it into account as a whole, and deciding if it’s ultimately a satisfying read. Plus, it could have the best second chapter you’ll ever read, but you’d never know.
Get creative: Before you put pen to paper, decide if pen and paper really is the best way to convey your thoughts on a book. Maybe you’re more of a talker than a writer. That’s fine – why not do a video review and get vlogging? In this blog post called ‘Crafting Creative Book Reviews’, someone has even written theirs in the form of a poem
Size matters not: Remember that there’s no exact right or wrong length for a review (but a review that’s bordering on novella length probably wouldn’t be very helpful). If time and effort is putting you off writing that all important review, a short and sweet one of a paragraph or two is perfectly fine. Or perhaps you’ve read a bunch of books lately and don’t have time for an epic review-writing session. So why not Tweet 140 character reviews, and tag the author or publisher on Twitter?
Lost the plot: A good review is not just a summary of the plot, but I see this all too often. Tell me how you felt about the characters – any favourites, and why? Did any particular language or descriptions jump out? Any themes that struck you? What didn’t work? A personal response about how the book made you feel is what makes a review engaging. Anyone could go on Google and find the publisher’s blurb.
No big spoilers! Need I say more…
Go compare: Can you suggest any other books or authors the work reminds you of? “If you like Y you’ll love Z” can feel a bit simplistic, but it’s a great pointer for potential readers. It’s worth including whether the author has written any other books of note to be aware of – especially if it’s part of a series.
To balance or not to balance: Don’t always feel your review has to be perfectly balanced and an objective split between the good and bad points if a book. I’ve read some advice about the importance of balanced books reviews, but I disagree and think if you love a work, why should you scrape the barrel for things you disliked for the sake of it? I used to write theatre reviews, and realised the balanced ones I did always felt formulaic. Just be honest and authentic.
The sum of its parts: A two-sentence summary or quick overview about your thoughts on the book can be handy for time-poor people who want a quick sense of whether the book’s worth reading. This is also seriously useful for marketing bods from the publisher. Here’s one I love about the new release Paradise Ghetto by Fergus O’Connell: “This novel took me on a rollercoaster of emotions. The passion for literature and the relationship between the two young women in this story is both uplifting and inspiring.
Starred-up: Don’t get bogged down spending ages worrying about what star ratings to give. Go with your gut. I once saw someone had given a novel 2 stars, because they were pissed off that Amazon wouldn’t let them give it 3.5 stars (the option was either three or four).
Get sharing: A review is of little use stuck on a laptop! Wondering what to do with those shiny new paragraphs you’ve written? Why not share on social media channels, like Facebook or Youtube/ BookTube. You could also post it on Amazon, Goodreads, the publisher’s website, or the sites for retailers like Waterstones and WHSmith. Don’t let the lack of your own book blog stop you posting anything (or better yet, set one up!).
Need that little bit of extra inspiration? Here are couple of great books review guides from Stylist Magazine and BookTrust.
This month I’ve been struggling to find the time to write something every day for my novel. I tried to make turning up at the page an essential part of my daily routine ever since listing to Neil Gaiman’s ‘Make Good Art’ speech. But I work as a marketing manager for a busy publisher, and squeezing in moments with my latest novel chapter around sales conferences, book launches, author catch-ups (and a social life!) has proved a challenge.
This got me thinking about the writing habits of successful novelists. Is working on a novel daily really the way to go? What are the popular practices of those who pen bestsellers? How can we learn from other leading authors? Here are just a few of the routines and curious customs I’ve unearthed…
Haruki Murakami gets up at 4am, writes for five or six hours, then goes for a run in the afternoon. He keeps to this routine every day without variation.
Ernest Hemmingway woke each morning with the sunrise and wrote solidly until noon. Then presumably he headed to a bar or found time for some hell-raising…
Bestseller Jodi Picoult has a slightly more flexible approach. Even if she can’t write a good page every day, she tries to edit a bad one
At the more eccentric end, Brain Pickings tells me that Virginia Woolf only wrote standing up in her twenties, Truman Capote wouldn’t begin or end a piece of work on Friday, and Victor Hugo locked away his clothes so he couldn’t leave the house until he was done. Not sure I’ll be trying that one in a hurry…
I’ve decided I’ll still aim to write something every day, but time away from the page every once in a while shouldn’t make or break the chances of producing a bestseller! Perhaps it’s even a good thing to come back refreshed. What matters is doing what works for you to get the words on the page. Kafka managed to write around 12 hour shifts, so there’s no excuse for me.
What are your writing habits and routines? Does anything in particular work well for you? Let me know in the comments below!
I was lucky to recently bag myself a much sought-after ticket to Discovery Day 2016 at Foyles in London. This fantastic free event for aspiring novelists was run in association with award-winning literary agents Curtis Brown and Conville & Walsh – a day of ‘speed-dating’ style pitching sessions, Q&As and publishing industry insight. Worry not if you missed out on a place – I’ve rounded-up my list of the top things I learnt there!
The key ingredients for a cover letter are a pitch for the book, a sense of the story and a bit of information about the author. Be sure to cover the genre, main characters, and what the key conflict at the heart of the story is. Writers approaching Curtis Brown Agency should submit the first fifty pages, plus a synopsis of the novel (remember this isn’t the blurb from the back of a book – spoilers are welcome!).
Don’t rush sending a manuscript out to agents if you’re worried your idea will stop being relevant or current soon. They’re much more interested in the quality of your work than how topical something is – and with two agents alone receiving 120 submissions between them a week, you can’t risk sending anything until it’s the best you can possibly make it.
Be patient – a novel is a marathon not a sprint. During a panel event with Emma Healey (author of million-selling Elizabeth is Missing), she said the book had taken around five years to write. The agent will then expect some re-drafts, and once the publisher gets hold it so will they!
Emma also advised authors to ask why you, why this subject, and why this moment, when working on your novel. It’s not always about writing what you know, it’s about writing what interests you.
The key things agents look for in a novel are a compelling story, strong voice and characters, gripping narrative, heart and emotional engagement. They need to care for the characters. A sense of surprise or a fresh twist on a genre can help too. Ask if your book achieves these before submitting.
A lot of people at the Discovery Day were retired and looking to start writing in older age. Several aspiring authors asked if this was an issue, but the agents all agreed age doesn’t matter, it’s about the book itself.
Writing workshops and courses were a big discussion point of the day. Many bestselling writers who secure agents have attended these, but a weekend retreat or online learning can still be helpful if you can’t afford to do an MA or six month novel writing course.
Become a pitching pro. At every stage of the novel’s journey to publication, it will be pitched. An author will pitch to an agent, an agent to an editor, and that editor to their wider team and sales reps. What’s the idea at the heart of your novel, and can this be summed up succinctly and with passion? For Elizabeth is Missing, the line “how do you solve a crime if you can’t remember the clues” made it all the way into the cover of the book. Check out my blog post about pitching tips here.
Read as much as you can, this is some of the best training possible for writers. One agent suggested taking your favourite books and asking how does it work, how is it structured, and why do you care about the characters?
Last but not least, my moment in the spotlight (when agent Alexander read through my opening page) taught me not to give away too much too soon – drip feed some details to readers and add a sense of mystery.
Bought these beauties from Foyles on Discovery Day! #BookSwag
Good luck with your own novels, everyone! Let me know how you’re getting on…
By day I’m a Marketing Manager for a publisher, writing blurbs and catchy sales copy for other authors. In my spare time, I’m writing my own novel – and starting to discover how much harder it can be to neatly package and sum up your work!
I have a place at this month’s Discovery Day at Foyle’s, where leading literary agents are offering support to aspiring authors on pitches and extracts. But what details should I include, and what do I leave out – and is it even possible to sum up a historical fantasy that spans continents with a huge cast of characters and multiple plot twists in 30 seconds? In short, yes. Here’s a summary of agency Curtis Brown’s must-read pitching advice for what Discovery Day participants could cover. Hopefully you guys will find it handy too:
Introduce yourself. Tell us briefly who you are.
Talk about what is at the heart of your novel. If there’s a strong original idea, tell it to us.
Tell us the title if you have one.
Think about genre.
If you can liken your novel to a successful published work or say that you are aiming to write like a particular author, do so.
Tell us the story! We’d like to know what happens. You’re delivering a lively snapshot.
Who are your characters? Who are the people you’re writing about?
If you’re really stuck with working out your pitch, you might like to practise pitching a novel that you love.
So, now it’s time for me to bite the bullet! Here’s my attempt at a 30 second pitch. Feel free to let me know what you think works about this (and what doesn’t!). Does this sound like a novel you’d want to read?
NOVEL PITCH – A DRAGON AMONGST MEN
I’m an award-winning writer and a marketing manager in publishing.
A Dragon Amongst Men is historical fantasy fiction, inspired by The Night Circus and Jonathan Strange & Mr Norrell.
The British and Chinese Empires hunt escaped magician Angharad Anderson, who holds the power to win the Opium Wars. But aspiring journalist Emma Delaney joins with infamous pirate Madam Cheng to find the magician in London, and they discover a plot tooverthrow a nation.
This opening novel in an adventure series is about strong women in a man’s world. It combines my passions for Chinese culture and the Victorian era.
I’ve just returned from an inspiring stint at Faber Academy’s “The Five Day Short Story” course. Here’s my low-down on highlights and things I learnt from the week:
Day One
After a near-hiccup trying to find the Faber Academy (the building was camouflaged behind scaffolding!), myself and the thirteen other lovely participants arrived and got stuck into introductions.
We kicked off the course, led by tutor Shelley Weiner, by discussing what actually makes a short story. Ideas ranged from length, to plot, pace, theme, characters, and epiphany moments. One of my favourite quotes from course was “a story begins with a recognition of the strange” (Graham Swift, I believe), and a sense of what if…
Each day focused on a particular short story, the first being ‘The Book of Ruth’ from the Bible. We looked at how a writer can effectively cover an extensive time-span in a short number of words, and how to approach writing compelling beginnings. We then undertook a character-themed writing exercise, choosing a photograph and imagining who that person was, what they wanted in life, and what their obstacles were. I decided that my picture of an elderly lady in a fur coat would be a hard-working Russian called Miriam Ivanovna!
The Faber Academy group getting creative!
Day Two
The second day of the course focused on Chekhov’s exquisite story, ‘The Lady with the Dog’. This tale of a man incapable of settling down, who (seemingly) finds love with a woman for the first time was my favourite piece of the week. It opens in the Russian seaside resort of Yalta, and we observed the importance of setting and a sense of place to a story. I particularly love Chekov’s advice about description: “Don’t tell me the moon is shining, show me the glint of light on broken glass.”
We also talked about how Chekhov’s writing follows the pattern of real life – meandering, aimless, and not always neatly tied up at the end. The discussion led onto point of view, and who tells the story. Our task for the day was to re-write it as Anna in first person – I attempted to make the lady with the dog a more empowered and active character, who is secretly leading the man Gurov along.
By this point I had also begun writing my own short story, with just two days to go until the deadline for the anthology at the end of the week! Afternoon sessions became a chance for others to share their varied short stories for feedback from the rest of the group.
Day Three
On Wednesday, the group dissected Hemmingway’s masterful short story, ‘The Killers’. This tale of two hitmen walking into a diner left several people cold, but if offered a perfect lesson in writing killer dialogue, the theme of the day.
Author Elizabeth Bowen wrote that dialogue is “the most vigorous interaction.” We bounced ideas off each other about the purpose of dialogue, from revealing more about characters and their relationships, to conveying a sense of time and place. One of the top tips that I got from this session is that it’s fine to use the speech marker “said”. I used to try and find more creative way to express this in my short stories, such as “she mumbled”. But as evidenced by ‘The Killers’, which uses “said” over 100 times, it works well as an invisible word, allowing readers to make up their own my about how characters say something.
Afterwards, we split into groups to get stuck into a practical exercise on writing dialogue. The prompt was: imagine three people at a bus stop— then someone asks for money for the fare home. It was amazing how many different scenarios that came out of this.
Day Four
Today’s sessions were all about crime writing, with reference to the intricate short story ‘Death and the Compass’ by Jorge Louis Borges. I found it somewhat contrived and pretentious (perhaps this was a translation issue?), but I can appreciate that the plot is supposed to be as labyrinth-like as the crimes and motivates within the story.
The group mapped out the conventional structure of a typical detective story, and how it’s as much about the detective themselves as the crime being solved. We then undertook a surreal task, where we were given absurd crimes, and had to invent suspects, motives and the “ah-ha” moment when the detective solves it. Let’s just say my group’s involved a man in a bath, a breast pump, and a dummy….!
Thursday also saw the moment I received feedback on the first draft of my short story, ‘Diminishing Returns’. It follows an elderly widower struggling to come to terms with his wife passing away from cancer. Strange occurrences begin to happen around the house, and he starts to question whether they’re down to his memory problems, or if his wife really is communicating with him from beyond. I was really pleased by the positive response it got from the group, and also the constructive feedback about cutting one of the extra characters out to make the story tighter.
Day Five
The final day of the course came around far too quickly. Before we knew it, the group was chatting together about Nobel Prize-winning author Alice Monroe’s ‘The Beggar Maid, as if we’d known each other for months. It was incredible how well Monroe seemed to understand her characters, and they felt like real people when she got inside their heads and walked them around the pages.
Tutor Shelley then led us into a discussion about beginnings and endings. We looked at what makes the opening and closing sections of the stories we’d read that week effective. Some key thoughts on how to make an ending stick in someone’s mind included; give a sense of life continuing afterwards; leave moralising to fairy tales; think of the structure in advance and don’t rush towards your destination.
We rounded off the afternoon with a session bouncing ideas around about how we could all motivate ourselves and keep up the momentum with our writing. I suggested (rather geekily!) that I’d set up a spreadsheet of publications and submissions to keep track, and also that I’d write a letter to myself outlining my goals, and ask a friend to post it back to me in six months.
*****
The Faber Academy anthology!
At that, it was time for a meal at the pub, and the presentation of anthologies (after some technical difficulties at Faber—something to do with printer and stapler issues!). As we tucked into our grub and caught up about the week, we realised how much food for thought the course had left us with. I can’t wait to keep in touch with the group, and see where the Faber Academy leads us all!
With thanks to New Writing South’s New Buds Award for supporting me to attend this course.
On the train heading back from Yorkshire, I’m wondering how long it will take before everything I’ve learned on Arvon’s “Fiction: Work in Progress” course soaks in. Myself and fourteen other budding novelists spent six intensive days holed up in poet Ted Hughes’ former home, Lumb Bank, doing workshops, readings, one-one-ones with expert tutors, Q&As and much more. I’m exhausted just thinking about it!
An extra bonuses of the course was a visit from guest speaker Evie Wyld, who’s talk went on fascinating tangents, ranging from her passion for sharks, to New Zealand serial killers and family scandal (do check out her inventive graphic novel ‘Everything is Teeth’).
I recently read One Last Wish by Ella Harper – who went from banker to bestselling author. She managed to swap the cut-throat corporate finance world for heart-rending romances. This got me thinking about which other authors have undergone a complete career make-over on the path to writing success…
Cover Girl 