The Unexpected Return of Josephine Fox

Winner of the Richard and Judy Search for a Bestseller competition, Associate Lecturer in Creative Writing at the University of Winchester and adjudicator of Hampshire Writers’ Society March competition Clare Gradidge tells us her story.

I’ve written stories as long as I can remember. As a child, if I wasn’t reading, I’d be writing. For many years writing was ‘just’ a hobby, but my dream was always to write something good enough to be published.

My first career as a nurse left little time for either reading or writing, except as part of the job. But when I took a break from nursing to bring up my family, I returned to my love of writing. In the years that followed, I had some short stories and poetry published, but my dream of being published as a novelist continued to elude me. So when I got the chance, late in life, to go to university in Winchester to study Creative Writing, I was thrilled. I took my BA degree, and then continued studying – and latterly teaching – the subject, being awarded my doctorate in 2018.

As part of my thesis, I wrote the historical crime novel which became The Unexpected Return. Then the question was, how to get it published? By chance, I saw details of the Richard and Judy Search for a Bestseller competition online. Open for entries from unpublished authors, it was free to enter. I sent off the first 10,000 words as directed, and thought no more about it.

I was amazed – and delighted – when the email which told me I was one of a shortlist of five arrived. Bonnier Zaffre, the publishers, sent editorial suggestions to each of the shortlisters, and then we had six months to revise (or complete) our novels. I’d already finished mine, but I made some corrections in line with what they’d said before sending the whole novel off in December.

To my huge surprise, in January 2019 I heard I’d won. My soon-to-be editor, Katherine Armstrong, asked if I’d mind if they changed the title from Home to Roost to The Unexpected Return of Josephine Fox. Did I mind? Of course not. I’d have written it in blood if they’d wanted me to!

A week later, I went to London to meet the publishers and the agent, Rowan Lawton, who’d agreed to represent me. I spent the whole day smiling, listening to people telling me how much they’d enjoyed my book.

Then the hard work began. All the editorial processes a book goes through before it is published had to be completed much quicker than usual, since the publication date had been set for August 2019.

Two rounds of line editing saw me rewrite sections of the novel to take out some story elements that the editorial team felt wouldn’t work for a commercial novel. This input was immensely valuable, and I was happy to comply with most of the suggestions, though at times I did dig in my heels! A final round of copy editing followed, and then I saw galley proofs before the book was sent to press.

The thrill of holding the first copies of my book in my hand was one of the best moments of my life – and though I never have got to meet Richard and Judy in person, I had the great pleasure of seeing my book promoted by them on Good Morning Britain, and watching it (briefly!) hit number 4 in Amazon’s best seller list.

What next? I’m working on a sequel, and though I don’t expect future developments of my career as a writer to be as exciting as winning the prize, I’m hoping that I’ll see another of my novels on the bookstands one day.

Report by L Nightingale

Congratulations Hampshire Winner – part two.

As Promised, part two of Louise Morrish’s competition win story. Last week Louise told us how she’d come up with the idea for the Coffin Club, entered it in the Daily Mail First Novel Competition…and won!

So Louise, you went to Penguin HQ in London and met up with Luigi Bonomi, your new agent and had lunch with Selina Walker your editor. How did it go?

It was the most incredible day of my life.

Some kind soul had chalked my name and THE COFFIN CLUB on the blackboard at Penguin Random House used to celebrate author’s book launches etc. I met with Selina first. Selina could not have been sweeter, she completely put me at ease. Then Luigi Bonomi arrived. I’d taken jars of honey from my beehives to give to them; they seemed quite surprised but pleased as well.

Selina introduced me to the rest of the Penguin team who had all amassed in the main office area, thirty or so young and trendy Londoners. The Prosecco was flowing and a glass was thrust into my hand. Selina gave a short speech about how they had found the winner of the Daily Mail First Novel competition, and here I was, and the Coffin Club was going to be a big success, and, and, and. And I just stood there beaming and thinking, pinch me someone, because this has to be a dream.

It sounds truly unbelievable! Then Selina turned to me and asked If I had anything to say to the team. Speaking to strangers like this is not something I’m comfortable with despite my day-to-day job involving standing up in front of classes of recalcitrant, heckling teenagers, talking to them about books and reading. But because the day felt so surreal, being guest of honour at Penguin HQ, I was absolutely fine and managed to stammer something about aspiring writers like me being so thankful for opportunities like this, and I thanked Penguin for producing such amazing books.

And lunch? Yes, it was then that the editorial changes were discussed. My plot of an old lady murderer wasn’t what had won me the competition. Selina wanted historical fiction, not crime fiction.

That’s what you would normally write, isn’t it?  Yes I write historical fiction based on real women who have achieved extraordinary things. My first novel was based on Dorothy Lawrence, a young woman who disguised herself as a soldier and fought in the trenches for ten days in World War One. My second novel is a fictional account of the life of the first woman to circumnavigate the globe in the 1760s, again disguised as a man. But those manuscripts are still on my hard drive!

So, what of The Coffin Club?  Selina and I agreed that the majority of the novel would concentrate on supercentenarian, Betty Shepherd’s life in 1943 and her time in the Special Operations Executive.

What then?  I left London with a full heart, a massive smile on my face. And a new challenge – to rewrite my synopsis.

And that’s what you’ve done?  Yes, Selina and Luigi both agreed the changes. I have until the end of the year to produce a complete re-draft. Then Selina will edit it. After that, the complicated process of re-drafts, and all other things that need to happen for a book to be published will begin.

Here’s to the future?  Deadlines and word counts have become a part of my life. It doesn’t seem too overwhelming, at the moment and I’m sleeping ok.

Would you do it this way again?  My advice would be to enter as many writing competitions as you can because even if you never think in a million years that you’ll win, miracles can happen. This experience has taught me that you never know what is around the corner.

For the first time ever, when I tell my family I’m going to write, and please can they not disturb me for a few hours, unless of course the house is burning down, for the most part they leave me in peace.

And I no longer feel guilty.

Thank you, Louise for sharing your dream come true with us. I think your story has made us all smile.
Report by L Nightingale.

Congratulations Hampshire Winner

Have you noticed that there has been no rain or hideous weather on a Tuesday night since the Hampshire Writers’ Society monthly meetings have been cancelled? You’ll also be pleased to know that the Society will be running its monthly competitions as normal – ish! The details for all the competitions are contained on our website. To get you in the mood here’s the first instalment of Louise Morrish’s story. Louise has long been a member of the Hampshire Writers’ Society; in fact you may well have heard her writing as, on many an occasion, she’s been a monthly competition winner too.

Louise Morrish, member and winner of the Daily Mail first Novel Competition.

What was the competition?  The Daily Mail’s First Novel competition to find an unpublished, unrepresented, debut author. A friend told me about it back in January 2019.

And the prize?   A Penguin Random House publishing contract with a £20K advance, and representation by literary agency, LBA Books. All you had to do to enter was submit your first chapter, a 400 word synopsis and a short covering letter.

Is this your first novel?  I write historical fiction and have had a some very limited interest in the drafts of two novels, but nothing more and those drafts now languish on my hard drive. THE COFFIN CLUB was a new idea.

Where did you get such an intriguing idea?  Two ideas came to me at the same time but from different sources. I combined them to produce my story. The first came from my mum, who told me about a club in New Zealand that she’d read about called, The Coffin Club.

What is a Coffin Club?  Coffin clubs bring people together to discuss and prepare for death. Using photographs and artwork representing their lives and loves, members build and decorate their own coffins. One woman, for instance, has pasted a full-size photograph of Elvis Presley to the underside of her coffin lid – she’ll be able to lie for eternity beneath her heartthrob.

And the second idea? A friend told me how she’d recently met the fourth oldest person in Britain. Apparently, this 110 year old woman was not impressed; “she would prefer to be the oldest.” I mean, who wants to be the fourth?

What about your characters?  I created Betty Shepherd, a 110 year old supercentenarian, the fifth oldest person in Britain and also a member of Guildford’s exclusive Coffin Club. I gave her a live-in carer, Tali a young gay woman from Mauritius with complex issues of her own, and a nasty son, Leo who wants to put Betty in a care home.

But I felt that something was missing, I didn’t have that unique angle; that crucial spark of originality.

So, what happened?  I was out running one day, pondering the book and it came to me – Betty has a secret past. During research for my previous novels, I had come across references to war-time women being recruited into a clandestine organisation called The Special Operations Executive. What if Betty had been an SOE agent? She’d have been taught the art of silent killing. And then…what if she put those skills to use, bumping off her rivals at The Coffin Club? A killer plot!

So that’s what you sent to the Daily Mail’s First Novel Competition?  Yes, and then I forgot about it, for months.

Business as usual then?  I enrolled on a Master’s degree in Creative Writing, at the University of Winchester, hoping to finish The Coffin Club as part of my dissertation. In the meantime, I plodded along writing bits here and there, in between work and family commitments whilst running ultra-marathons in my spare time. No panic or pressure, because I really had no hope of ever seeing any of my scribblings in print.

How long until you heard from the competition? It was October last year.

How did you find out? It was one evening after work; Luigi Bonomi, the Managing Director of LBA Books rang to tell me that I had been shortlisted.

How exciting must that have been? At that news, I had to sit down! Luigi then asked me some questions:

‘Was I represented by any agents?’

‘No.’

‘Had I published a novel before?’

‘No.’

‘Would I take editorial direction?’

‘Yes.’

‘That’s what all authors say. Will you REALLY take suggestions?’

‘YES.’

And he said he’d be in touch again in 2 or 3 days with the result. Good luck.

So, you were left hanging? That must’ve been excruciating.  Two weeks passed. They were the slowest, most miserable two weeks of my life. I stopped sleeping properly and I kept my phone on me constantly; even at work. I work in a school – it’s actually a disciplinary issue to have your phone on you.

Did people keep bugging you for any update?  I had only told my mum, my husband, my three kids and one special writing buddy. All of them, I’d sworn to secrecy.

I really didn’t think that I’d win at all. But I did think that Luigi could at least tell me I had NOT won. I was actually very upset that no one had bothered to ring me back and so after 2 weeks of hearing nothing, I stopped carrying my phone on me at work.

Poor you! My Master’s had begun, so I concentrated on that.

And there was no sign of the competition at all? I was in the Martial Rose Library, on campus, searching for a text to use in my first assignment, when I spotted the book, BODY LANGUAGE by DESMOND MORRIS. I don’t usually believe in signs, but when I pulled it off the shelf, it fell open at a full page photograph of the oldest supercentenarian in the world – a 121 year old French woman.

The next day, I got the phone call telling me that The Coffin Club had won.

Luigi Bonomi, the Managing Director of LBA Books was now your agent. What’s he like? Luigi could not have been lovelier. He told me that of all the entries they had read, mine had been voted winner unanimously.

So, who were the other judges? The judges included FERN BRITTEN and PETER JAMES, as well as imprint of Penguin, Cornerstones’ editor, SELINA WALKER. I googled her; I couldn’t help it. Selina Walker edits such people as ANTHONY HOROWITZ, LISA JEWELL, HARLAN COBAN…and now she would be editing me.

Was The Coffin Club finished?  I’d only written five chapters. It was after the Daily Mail called me and conducted a half hour phone interview, a two hour photo shoot with photographer and make-up artist at my house the day after that – the article appeared in print and on their website the next day, the local press, and the Bookseller also ran articles; and then Twitter went a bit mad and everyone in my entire world knew. Suddenly, it struck me; this was real. I would actually have to write a whole book good enough for Penguin to publish. I stopped sleeping again. Then Selina Walker from penguin emailed to say hello and congratulate me…and she asked to see the rest of the novel!

Frantically, I checked the competition terms and conditions, it specifically said that the novel didn’t have to be complete. Fully expecting an email back saying: ‘Thanks, your first chapter was really good, but these are rubbish. We have changed our minds. You haven’t won after all.’ I sent off the five chapters, I wasn’t happy with them but then I never am.

So, what did Selina say? Several days passed before her email came. It said: ‘These are terrific. We have some suggestions. Please come to Penguin HQ in London on 4th November, we’ll celebrate your win, talk about any changes to the plot, and take you out to lunch at the Tate Britain.’

Part two of Louise’s story next week.

Report by L Nightingale.

Christine Hammacott: Getting to grips with Genre – why understanding your genre is so important

Genre was something set in motion by the ancient Greek playwrights who, followed by Shakespeare, categorised their works into three batches – history, tragedy and comedy. Satire, they used to provide some light relief in the midst of their tragedies. Google will tell us there are five main genres, each with its own rules, for example, length and character types. So, each genre has boundaries, but these are fluid. A story may be set in a dystopian future but have a strong romance at its core.

So, the rules of genre may not be hard and fast, but writers do need to be aware of them.

‘Think of the labels on tinned food,’ Christine Hammacott, graphic design consultant and self-published author of psychological suspense, told the gathered members and guests of the Hampshire Writers’ Society on Tuesday night, ‘you wouldn’t be impressed if you opened what you were eagerly expecting to be your favourite beans or soup, and you got dog food.’

A life-long book lover, Christine worked for a long time in the publishing industry. Determined to be the master on her own skills, she set up THE ART OF COMMUNICATION. Her first book, THE TASTE OF ASH has been a recommendation of the UK Crime Book Club.

‘A crime story can be written in a very light way.’ she points out, ‘Or it can be written in a very dark way.’

Many authors, when asked what their book is about, will launch into a twenty-minute, blow-by-blow account of their entire story. This is not what the question was.

The many writers who announce: their book is unique, doesn’t fit into any genre, need to do some more research – read lots, join Facebook and Twitter groups, sift through Amazon and Goodreads, resort to the Writers and Artists Yearbook and analyse exactly what it is that you have written. You could always talk to Christine at The Art of Communication!

The first thing an agent thinks: Is this sellable? And a publisher? Where does this fit with my current writers? If you’re self-publishing, what words will potential readers use to search for your book on somewhere like Amazon?

‘As writers, we don’t want to be pigeonholed, but we do want to sell our books.’ she reminds us.

Everybody talks about plot, so what is in the content of your book? Think of the theme; the theme being the overriding issue. If you’re not sure, then talk about your book and the theme will soon materialise.

Imagine that you have stepped into an elevator with the agent of your dreams, so you have only until the doors open to pitch your book to them. This elevator pitch is the one sentence that on-line sellers will use in their description of the book. You don’t need to give away the surprise or even the plot. Your pitch just needs to be punchy and promote the hooks, including where and when story is set.

Wherever you pitch your book, reader expectations are likely to be high. Potential readers want to know what they’re getting. You need to get to know the ‘nub’ of your book, talk about what it is ‘about’.

If you are self-publishing, consider your cover. A book’s cover will illustrate the genre to potential sellers and readers. The colour, font, imagery and focal point evoke an emotional response does it make the reader smile or gasp, frown or laugh out loud. For your e-book you can trawl through covers on Amazon, Goodreads, your Facebook and Twitter groups. Browse bookshops, but keep in mind, how your chosen cover will cope as a thumbnail.

Report by L Nightingale.

Glenn Fosbraey

At the last Tuesday night meeting of the Hampshire Writers’ Society, Glenn Fosbraey, the Head of Department for English, Creative Writing and American Studies at the University of Winchester spoke to us about the importance of lyrics. Glenn’s talk proved popular, and, as we’ve had Glenn to talk to use before, I am sure he will come to talk to us again.

“Lyrics enhance our emotional connection to a piece of music.” Glenn Fosbraey, Head of Department for English, Creative Writing and American Studies at the University of Winchester, told the gathered members and guests of the Hampshire Writers’ Society this Tuesday night.

An instrumental can instigate an emotional experience; Lyrics bring on more complex emotions: humour, irony. Glenn played us Paul McCartney’s Yesterday, which everyone knows was composed by McCartney during a dream. However, the song’s working lyrics were about scrambled eggs with bacon.

No real emotions are raised – “Unless you have a thing about eggs.” says Glenn. Lyrics, particularly at the time, seemed largely to be only for commercial use, the band connecting with the girl on the front row and songs were written to a “faceless you.” Neither were the Beatles in the business of producing instrumentals – Yesterday needed some proper lyrics.

Lyricist, Tim Rice described the song’s biggest success as its relatability. Yet, when you segregate, Yesterday’s lyrics, you find what Glenn calls the “shiver factor.”

“Why she had to go…” McCartney’s mother died suddenly when he was just thirteeen.

And then:

“I said something wrong…” at being given the news of her death, McCartney had blurted, “What will we do without her money?” He had said the “wrong thing” – a thirteen-year old’s way of dealing with grief.

Whether you agree with the way Yesterday was written or, indeed, who it was written for, you cannot deny that when you think of it this way, it gives you a “shiver.” Thus, lyrics also instigate a physical response from the listener. A connection which is impossible without words.

You can find out more about Glenn here.

Report by L Nightingale.

This is Glenn’s Song – and this is why he loves it.

Our special guest at the next meeting of the Hampshire Writer’s Society will be Head of Department for English, Creative Writing and American Studies at the University of Winchester, Glenn Fosbraey. You may remember that Glenn spoke to us back in 2016 when he waxed lyrical about his latest addition to the University – the degree on Popular Music. A month or so later, Glenn very kindly sent us his top five favourite song lyrics, explaining, in his very poetical way, why he liked and valued them so much. Still a huge fan of The Smiths, this is his favourite song of all and he tells us why.

‘There is a Light That Never Goes Out’ – The Smiths

It was on a gloomy winter’s afternoon at the age of fifteen, teenage angst and unrequited love in full-force, that I had my best Smiths experience. I had been infatuated with the band for a month or so by this point, started via a random purchase of Greatest Hits album Best 1 from the bargain bin at Woolworths, and I was ready to graduate to their masterpiece The Queen Is Dead. As I start the long walk back from HMV in town, I read the lyrics from the CD brochure and savour the anticipation of those words being set to music; hearing those first sounds coming out of the speakers; feeling the irresistible mixture of nerves and excitement as I get ever-closer to my house and CD player. At home, I close the bedroom door behind me and turn the lights off, cutting myself off from the bustle of family and TV downstairs, creating perfect Smiths-listening conditions. About half an hour in, I arrive at the penultimate track. ‘There Is a Light That Never Goes Out’. I fall in love. The mixture of the everyday (‘driving in your car…’) with the philosophical (‘…a heavenly way to die’); the way Morrissey is able, in a couple of lines, to demonstrate the shyness, frustration, and confusion many teens encounter when faced with the objects of their desire (‘…and then a strange fear gripped me and I just couldn’t ask’); the mixture of the ugly (‘and if a ten tonne truck kills the both of us…’) and the beautiful (‘…to die by your side, well the pleasure, the privilege is mine’); it’s the slight pauses before the choruses kick in; the swirl of the strings in the choruses themselves; it’s Morrissey not quite being able to reach the highest note but not re-recording it, making the listener feel at one with him, as if it could be them in that vocal booth instead of him, missing perfection but making it somehow more perfect because of this; it’s the repetition of the title again and again in the outro. Love and loss, hope and despair, alienation and belonging, all crammed into four life-changing and life-affirming minutes. There is, indeed, a Light That Never Goes Out, and for me, it will always be this song, in that moment, on that CD player.

A Bite of Success

First of all; we wish you the best of luck with all your new year endeavours.

My book

Our speaker on Tuesday 14 January is Paul Newsome, founder of the Self Publishing Studio. So I thought I’d share my experience of self-publishing with you.

Publication date is so exciting, regardless of how you got there. Using a self-publishing agency an author could find themselves holding a

beautiful hard copy of their book; one that sports the cover that they have designed. Most agencies also offer a slot on Amazon, an e-book and an ISBN. That author, especially if they are a member of the Hampshire Writers’ Society,

could be attending book fairs where they’re the one standing behind the banner, signing and selling copies.

Anne Wan

Perhaps this isn’t what you want from your work. Some authors simply want to hold their book and smile and say, “I’ve written it.” without a big, intimidating publishing house in sight! Or is there? If you self-publish then that big intimidating publishing house is you! You, in your three-bed semi. You in your mid-terrace two-up, two-down, or you in your studio, mansion or back seat of your car. Whatever your abode, you are the publisher.

Or perhaps you want to hand over your life’s work; well however long it took you to write, edit, redraft and edit again, to an agent, ergo a publisher, financiers, salespeople, marketeers and target-setters? You’ve worked hard on your novel, you’ve juggled your life and your treasured characters; found your voice, lost your voice, dragged your family around your research and then (leaving them out) wrestled it into you story. It is your novel and you, quite rightly, believe it is the best novel ever written. The answer’s in the question – “How should you publish your book?”

Catherine Griffin, Sally Howard, Maggie Farran, Karen Stephen

No, you don’t have to be a technological whizz. Keep an eye on your finances; you know your budget and use a self-publishing agency. The agency should offer you proof-reading services, along with some editing and the final answer of what exactly goes between the covers is all down to you. As long as you are keeping your eye on your finances, it shouldn’t matter how many times your manuscript goes back and forth to the editor. If you’re not happy with it; send it back again. You’ll get there eventually!

You do not have to be a photographer with the eye of David Bailey or the creativeness of Linda McCartney. Neither do you have to have the genius of Leonardo de Vinci or the resources of Banksy! When it comes to your cover, your agency will be able to advise you and, using examples of covers that you like, help you put it together. Then you can start the tooing and froing again. You’ll soon be on first-name basis, although I can’t guarantee you’ll make the Christmas Card list.

Type face is the same – pick one you like and leave it up to your agency. It is surprising and reassuring, how many times your agency will be in contact, chasing you for a yay or nay. You could opt for hiding behind the settee or under the duvet, but this is where that down-payment comes in handy. You both know you’ve paid for the agency’s services and you both know the agency will not want to let you down. So unfortunately, the settee or duvet will only obscure you, the agency will still be there when you come out for a comfort break.

So, you can’t add! Not all of us can be good with money. You are a writer and you move in the world of words. What you do know, is how much you are happy to pay for a book. Carry out your own research, find out how much books, the size and type of yours are selling for. Arm yourself with answers ready for the discussion with your agency when they want to know how much to tell Amazon to sell your book for.

It’s all a discussion and you can choose how far you are happy to be ruled by your agency. Be bold; you don’t have to agree. Okay so perhaps you aren’t a bold type. Remember though, they have done it all before to varying degrees of success, so they should know a thing or two about what they are doing, enough also to advise you who might be doing it for the first time.

Lisa Nightingale

And then, it’s all yours. So is the marketing and selling. You will probably find your agency has a handle on that too – if you let them. If not, there are many, many helpful hands out there willing for you to grab on. Not least of those is us, the Hampshire writers society. Check out our blog posts, previous and future. Deciding to self-publish, puts you in the driver’s seat. Our programme of meetings where you can meet and pick the brains of industry professionals is on the website and, of course, people like me with no other qualifications than, I’ve done it before.

REPORT BY L NIGHTINGALE

Literary Agent, Lorella Belli Talks E-books, Publishing and Self-Publishing: an agent’s view

In just over two weeks, Literary Agent Laura Williams will be speaking to Hampshire Writers’ Society. Her talk, Myth-busting the Publications Industry will be live at the Stripe. So, I thought it would be good to resurrect the report of a talk from the Literary Agent, Lorella Belli. Especially as Lorella appears in one of this website’s banner photos, plus it’s Halloween time; resurrecting things is topical!
Lorella talks about the role of an agent regardless of whether the author has chosen to self-publish or the more traditional route of ensnaring the interest of a publisher.
Lorella Belli and Barbara Large
What are the pros and cons of getting a traditional deal or choosing the self-publishing route? In this rapidly changing landscape, what is the role of the agent?
It was Lorella Belli’s ambition to set up her own agency. She set out to know the publishing industry inside out. Her brief to discover ‘new blood’ gave her not just invaluable insider experience but introduced her to many unpublished authors.
‘An agent works for their Author.’ Lorella says. As an agent, her primary concern and something which she feels forms a vital part of the agent/author partnership is; ‘What does the author want from their writing?’
She is the first to declare that the agent’s role in the modern author’s career remains unchanged regardless of chosen route of publication – self or traditional. An area of particular interest is the protection and exploitation of the author’s rights and here, Lorella is well versed and diva.
For the most part, a writer wants readers, they want to see their work in a bookshop. Equally, it is important to recognise the financial aspects of a writer’s career. Both the traditional route and the contemporary self-publishing route provides remuneration, but in different ways.
It is her belief that an agent has a responsibility to be aware of the many platforms of publication available to authors both new and experienced, how those platforms work and therefore be able to fit the author to the best publisher.
Lorella’s agency is vocational towards the needs of an author. There is no room for the agent’s preciousness over writing. ‘So, what if the book is ‘trashy’.’ Lorella says, ‘If the writer is happy, then their readers are happy and so is the publisher.’
An author can retain some control over publishing decisions e.g. the cover even through the traditional route. An informed agent will know to insert such clauses into their contract. Similarly, self-publishing has given the publishing houses some much needed competition – authors now have an alternative.
However, authors must be aware that by choosing the self-publishing route, they are choosing to take on their career in its entirety and inevitably this will cut into writing time. A publishing house provides editing, a marketing department, a sales department and publicity.
The traditional route may seem like it is taking its time, whereas self-publishing can be a whirlwind. Of course, this is after the author has learned all the skills needed to be a publisher.
One huge pro for the appointment of an agent – they get the hurtful rejections! However, an agent of Lorella’s talent will believe in the book and wants to see it published. It is that agent’s job to spot the writer’s talent and therefore their target audience.
It is hugely important that authors remain professional. When an agent is passionate about a book and has an author that they can build on, they will stand more chance of promoting it, even if it does not appear to fit, or is the wrong length.
Even to an agent as talented as Lorella, the next big thing is a mystery. There will always be the wild card – who could have predicted 50 Shades of Grey? However, a writer can keep their eye on publicity to hang on e.g. the Olympics.
As a writer grows more successful, their chosen path can become more complex. Lorella suggests building a team – delegate, remember the AAA (Association of Authors’ Agents) and ask an agent for advice. That is the bottom line of their job – to work for the author.
Lorella Belli
An agent’s website will state what they are looking for. There is no divide between male and female, it is all down to what that agent wants to feel when reading a book. For Lorella, it is what makes her laugh and what makes her cry.
The members present were left in no doubt of Lorella’s message – the agent works for the author, no one else, not themselves, not the publishers. Just the author. They thanked her for her candid, refreshing approach and dependably constant open door

An Extra Ingredient!

This week we’re very lucky to have Sue Moorcroft Sunday Times and international bestselling author send us a writing tip. Sue is worth reading, she has reached the coveted #1 spot on Amazon Kindle, won the Readers’ Best Romantic Novel award and the Katie Fforde Bursary; and she’s been nominated for several other awards, including a RoNA.

A writer of short stories, serials, columns and writing ‘how to’, Sue’s courses have appeared all over the world!

Her current release is Let it Snow, in which Lily the heroine searches for her half-brothers. Lily’s quest takes her from the frosty cottages of Middledip village to the snowy mountains of Switzerland. The ebook is out now with the paperback and audio available on the 14th November 2019

-  A tip from Sue Moorcroft

You’ve written a story, a good one. You’ve created a high-stakes conflict to hurl at your central character and had her or him solve it via a pivotal moment. Your setting’s vivid; your characters jump from the page; you’ve spoken your dialogue aloud. There’s no overuse of adverbs, repetition, passive or loose sentences. Your metaphors and similes are poetry.

And yet you’re not satisfied.

Where do you look for that extra ingredient to catch the eye of an editor or judge?

How about a specific angle in your structure? An easy example of this is the ‘epistolary form’, which means a story told in the form of correspondence. For years – centuries, I suppose – it often meant letters but now we’re equally likely to see email or other electronic communication. For the purpose of this post I’m going to use the word ‘message’.

Maybe it’s because we’re taught not to read the messages of others that reading one within a story can be so intriguing? You can tell an entire story in the form of messages or just introduce one at the right moment.

We tend to write (text/message/e-mail) in our own voice or some version of it. You can use this fact to create a strong impression of the character responsible. This can be especially useful if you want to bring out the voice of a character who has no viewpoint and little or no dialogue.

A teenager’s text or WhatsApp:

hope u & dad r ok. thx 4 sending my course work can’t believe I forgot it lol.

A solicitor’s letter:

Dear Mrs Bell

I am writing to update you on …

A love letter:

Hey, sexy buns …

A threatening note:

Some people should know when to shut up …

Cyber bullying:

Everyone knows you’re …

Messages can be a brilliant way of getting information over to readers without the dreaded ‘infodump’. If you’re writing about a character with an unusual medical condition, creating a message board for the sufferers in your story provides an accessible way to get background detail across.

Big Bob: What I find the hardest to deal with is the shakes from the meds. Anyone else get this?

Little Ted: It’s a stress when you’re trying to talk to a girl, isn’t it? I spend a lot of time with my hands jammed in my pockets.

This personalises the condition you’re trying to convey and prevents your story plunging into passages that sound like a medical text book.

Here are a few ideas for utilising written communications in fiction. Just add imagination:

o   Letters

o   emails

o   Texts/WhatsApp

o   Social media posts

o   Diary entries

o   Log book entries

o   Reports (medical/school/work/prison)

o   Sticky notes

o   Graffiti

o   Lists

o   Recipes

o   Blogs/blog comments

o   Newspaper/magazine articles

o   Footnotes

o   Excerpts from books

o   Songs or poems

Note: It’s important to be aware that it may not possible to use lyrics from songs or excerpts from books without gaining permission from the rights holder. Check out the relevant copyright law, especially if the author is alive or died less than seventy years ago. Or write your own!

 

Get on the Customer’s Shelf

“Booksellers are Pragmatists,” says Crispin Drummond, proprietor of P&G Wells independent booksellers in Winchester, “not Romanticists.”

The Shop at College Street

P&G Wells have been in the business of selling books for over 200 years. Crispin was sold the shop on College Street after one too many glasses of wine. His only credentials — he liked to read. A year of learning on the job followed. He learned that the horror stories are true; there are too many books, chain-stores are closing and yes, authors are getting a bad deal from publishers.

The bookseller is firmly on the side of the customer and P&G Wells’ first policy is to give thoughtful customers a wide choice. So, when looking at new titles, deciding what to stock, he considers the customer and listens to their wavelength. The bookseller will think on over 50,000 titles, of those they will stock roughly 8,000. For a pragmatist, choosing those titles is blissfully free of the sentimentalities suffered by the romanticist. Of course, he doesn’t do “blissfully”.

“The average British reader only buys 3 books a year.” Crispin reports, “5 at most.”

The bookseller’s customers will not be swayed by the Best Seller label, they can get those anywhere. It is the fresh books that sell. P&G Wells supports a far larger number of authors than any of the chain stores, regardless of who publishes them.

To get your book on the P&G Wells customers’ shelves, it must be well-written, it needs to have something new, bring something special to the shelf. The customers would not forgive the bookseller for offering them something that was run-of-the-mill. They do not buy the same-old, same-old.

“Obviously, the booksellers’ best time of the year is Christmas.” Crispin told the members and guests gathered, “When the ideal customer is the one who wants to buy presents for every member of their family. And P&G Wells has just the book for each of them.”

Crispin is the Hampshire Writers’ Society treasurer. He is the bookseller in the foyer at every Tuesday night meeting.

Report by Lisa Nightingale