Category: HWS Events

  • The Countess of Carnarvon and the real Downton Abbey

    Report by David Eadsforth

    Barbara Large, Chair of the HWS, opened the meeting and welcomed everyone to what would be a wonderful event on a sunny evening, and pointed out although we may be at different stages of development, we were all writers. Barbara welcomed our guests: Lady Carnarvon, Professor Joy Carter, Becca Munday, and Becky Bagnall. She delivered the apologies of Stephen Lawrence and Lindsay Ashford who could not be present and thanked Ray Mosley and Keith Arscott of Chawton House for their great help in making the event possible.

    June 14 Prof Joy Carter Barbara LargeBarbara pointed out that the membership of the HWS was drawn from beyond the confines of the county, and informed us that one member lives in London and endeavours to attend every monthly meeting. Barbara then reminded the meeting of the HWS events of the past year, citing the highlights of each. She then thanked the members of the management committee, asking each to stand up and be recognised. The HWS Treasurer, Crispin Drummond, then gave a brief report on the state of health of the Society’s accounts which were, in brief, healthy; we had a strong, stable membership, revenue was good, and considered that the HWS could do even better if it were to extend its activities into the running of workshops and other activities. Barbara then ended the Society’s interim report and asked Professor Joy Carter to say a few words.

    Professor carter said that it was a joy and a privilege to be present at the event, thanked Barbara for such a wonderful set of events, and wished everyone a great evening. Barbara then introduced the main speaker for the evening, Lady Carnarvon.

    Lady Carnarvon greeted the members and commenced the delivery of what was to be a fascinating and at times immensely amusing presentation, supported by a huge number of projected photographs. Highclere Castle had, reportedly, been made famous in “two hundred countries” around the world, which slightly exceeded the actual number, but confirmed that the TV series “Downton Abbey” was indeed a worldwide phenomenon, loved by huge numbers of people and once amusingly parodied as “Downturn Abbey”. Filming of the series at Highclere Castle had resulted in a number of amusing production requirements, such as the use of a cupboard as a door to a bedroom. Today, Highclere had between 80 and 120 people connected with the maintenance of the building and between 35-40 people who actually run it. There were 200 rooms in the Castle, which is set in 1,000 acres, with a larger estate surrounding that.

    Lady Carnarvon
    Lady Carnarvon

    The Castle had a fascinating history. In 749, the then estate was granted to the Bishop of Winchester, and there is an area known as the “Monk’s Garden”. William of Wykeham, founder of Winchester College, held it while in office, and there were significant developments in the Elizabethan, Georgian, and finally Victorian eras, all of which were being increasingly understood by modern archaeology. One significant modern development is that Lord Julian Fellowes, creator of Downton Abbey, is a regular dinner guest.

    Lady Catherine, the subject of a book by Lady Carnarvon, truly represented the glamour of the 1920s and 30s. Lady Catherine was American, and when she married, the wedding guests comprised a few close family members – numbering 750 – and the event was followed by a party for 1,000.

    The Earls of Carnarvon had traditionally been prosperous, but by the end of the nineteenth century the old, previously dependable revenue streams were drying up, at which point salvation appeared in the form of Almina, the illegitimate daughter of Alfred de Rothschild, who appeared on the scene with a £500,000 dowry. Almina was a great society hostess, but on the outbreak of the First World War decided to turn Highclere into a hospital and convalescent home for wounded servicemen, the first of which arrived at Highclere in September 1914, to be greeted by Lady Almina and her attractive troop of nurses. Almina had asked her father for £25,000 to set up the hospital and requested a further £10,000 a little later for running costs. One patient, who kept a diary, was Captain David Campbell who had served at Gallipoli and been shot in both legs. Almina concentrated on orthopaedic work. This period saw a shortage of surgeons, sixty having been killed at the Battle of the Somme alone, and many doctors and surgeons came out of retirement to help.

    (On the third of August, Highclere will once more be turned into a hospital: as part of the marking of the start of the First World War. There will also be a big air show, and the proceeds will go to the Royal British Legion.)

    Almina’s husband, Lord George Carnarvon, along with Howard Carter, had discovered the tomb of Tutankhamun in 1923, but was the first to fall under “the curse of Tutankhamun” and died in April of that year. On the news of her husband’s illness, Almina had been lent an aircraft so she could be with him, but sadly he died before she arrived. Death duties then hit the family, but Almina managed to save Highclere by selling many old masters.

    A complicated period now followed. The sixth Earl, Henry, had married Catherine Wendell in 1922, and they were together until 1936 when they divorced. Henry, after having become engaged to Tanis Montagu, who turned him down shortly before their intended marriage, then married Tilly Losch, the ballet dancer just before the Second World War.

    WWII saw Highclere providing a home for dozens of evacuee children, and cooking for everyone was a challenge for the resident chef. But danger was never far away as Luftwaffe bombers would frequently jettison bomb loads on the way back to Germany from Bristol, and Highclere was under their flight path. Tragedy also came to Highclere in the form of several crashes of allied aircraft, including a B17 Flying Fortress, and parts of this aircraft are now in the possession of Highclere.

    Lady Carnarvon ended with a description of present life at Highclere, and how the people who work there rarely retire. A valet, Robert Taylor, served for fifty years, and one employee is now in his 90s.

    June 14 Lady Carnarvon signingBarbara thanked Lady Carnarvon for her absolutely fascinating talk, and Gary Farnell then handled questions from the members. One question concerned the awnings seen over the Castle windows in one WWI image, and the answer was that these were to shade sun-facing windows. Lady Carnarvon was asked how she decided what to include in a book, and replied that generally she includes, and Hodder takes out! (At this point a gentle ‘ooh’ was heard from Becca Munday, Lady Carnarvon’s agent.) In answer to the question “what next?”, Lady Carnarvon said she now viewed the interests of her readership as important, and was looking at ‘a year in Highclere Castle’: the food of Highclere and also the people who have worked there. She admitted that she had now come to know an enormous amount about plumbing and electrical systems. Asked if she kept a diary, Lady Carnarvon said she did not, but had a huge volume of emails which was just as good. Asked how she found time to write, she replied that it was indeed difficult, but it was a challenge and, if she found herself facing writer’s block, opening a bottle of champagne usually did the trick.

    Barbara then introduced Sharon Garrett, who had recently published “Friday Night’s Dream: Wyckerton” under her pen name Nick Newberry. Sharon explained how she had been inspired by Julian Unthank, HWS speaker of June 2013, who had presented the ways in which a person could write for the screen. Sharon had decided that what worked for screen should work for a book, and set about reading and analysing existing fiction, and seen how internal conflict could draw the reader into the story. The result had been her book.

    Jim Livesey then asked Becky Bagnall to present the results of the competition, the details of which can be seen in the ‘Competition Report’.

  • Questions and Answers with James Wills

    James Wills - May 14

    Points raised by the questions:

    • Check the agent’s website for submission guidelines and do what they say! Emails are acceptable.
    • Yes, you can contact multiple agents, but be courteous enough to let them know you are doing this, and inform them should you accept an offer; it is very annoying for an agent to spend a weekend studying an author’s work only to find on the Monday that another offer had been accepted the week before.
    • Are literary agents getting fewer submissions due to the rise of self-publishing? No, they are getting more!
    • Has self-publishing affected literary agents? Not really; the agent’s search for serious writers continues.
    • Can the self-published book get the attention of an agent? It can, but it does depend on the degree of success and other factors.
    • Will agents be impressed by a web presence? Broadly, yes; but if you are not good at website creation then get experienced help.
    • What percentage of a book is read by an agent? This depends – enough to make a decision!
    • Do sub-editors have the right qualifications and skills?       Yes, if you pick the right one for your book!
    • What about copyright protection of the MS? Usually quite adequate, but in the event of an infringement the AAA may be able to help.
    • What about the contradictory comment and advice an author gets from different agents? Comments will always be subjective, but are worth analysing and absorbing.
    • Often, “rules” of how to write a novel are offered. When so many classic novels break these apparent rules, can they be valid? There are no real rules, but you need to understand what you are attempting.
    • Must we write purely for commercial appeal? Best to immerse yourself in what is going on at the time and understand what is popular and why, but do not simply duplicate.
    • Is the selection of children’s books for publication purely commercially driven? Are themes of sex and violence creeping in too much? Editors of children’s books are lovely people, but with the changing times slightly darker themes will inevitably creep in.
    • Are the first and last sentences really key? No – but they are a good start!
    • If a book has not grabbed the reader by the throat by the 5th page, will it be binned? Probably, unless you have effectively set the scene by then.
    • Would works of acknowledged genius, if submitted today, get published? If it is not what the intern is looking for, it probably will not.       Newspapers try this out periodically, but fail to appreciate that publishing is market-driven.
    • Should I complete the book before trying for an agent? If fiction, absolutely.
    • Will an agent dump a book after reading just one sentence?  Such brutality is very rare, but the reputation is worth having!

     

    Some general questions from the membership then followed, and James had the following comments:

    • Do not go to an agent who asks for money to read your MS.
    • Are there any truly taboo subjects for thrillers? Yes; truly appalling sexual violence etc.       Discuss your intentions with your agent.
    • How long should an author allow for a response from an agent?       This depends on the time of year, Watson Little try to be under 4 months. A polite nudge is acceptable if you have been waiting for far too long.
    • Some agents ask for 3 chapters; how much material do they think they will get for that? Some people do write with short chapters; use common sense and send 30-50 pages as you believe will do the job.
    • Do film and TV tend to use adaptations or fresh material? Literary agents usually have associates who handle these options; check the agent’s website carefully.
  • James Wills at the HWS May 13th 2014

    Report by David Eadsforth

    Gary Farnell opened the meeting and explained that Barbara Large, who would normally manage proceedings, was absent on family business. Gary explained that tonight had a particularly full agenda. First, there would be a number of HWS announcements, to be followed by His Worship the Mayor of Winchester, who would provide an outline of his work during his term of office, which was due to end shortly. Then James Wills, of Watson Little, would talk about why a literary agent was still needed in the digital age, and finally the results of the monthly competition would be announced.

    HWS Announcements

    First, an award had to be presented to Rebecca Laurence for her poem “Fossils” , as Rebecca had been absent on the night in question. Then Cat Randall, chair of “Big Up Words” announced that a poetry festival would be held on the 24th May in Romsey. Cat explained that there would be 100 prizes of volumes of Slam Poetry and a reading by Teapot Percolator. She also gave initial notice of a Youth Anthology event which is planned to take place in Andover. Further details would be found on the site: http://www.bigupwords.co.uk

    Celia Leofsy announced her debut novel “The Company of Goblins”. Celia thanked Jenny Knowles of Little Knoll Press for having made this possible. Against a projected image of a book cover drawn by 11 year old Emily, Celia explained that this book was the first of a trilogy featuring twelve-year old Izzy Green, who battles against the ambitions of the goblins who want to take over the world. Celia has drawn on Anglo-Saxon and Norse mythology in the creation of the story and the book launch will take place at Waterstones at West Quay, Southampton on the 12thJune between 17.00 and 19.00.

    Anne Sherry announced the availability of her book “Safe Passage”, the writing of which has dominated her life for the last two years. Anne was prompted to write the book after facing the problem of what to do with her huge cache of travel journals, and in going through these she rediscovered a lost world. “Safe Passage” is Anne’s story, which she subtitles “The Human Face of Dementia”. Anne self-published, which had high costs in both money and time, but this enabled her to maintain the level of control she wanted. Alzheimer’s Research UK encouraged Anne to continue with self-publishing when the going got tough and helped with publicity.

    James Wills, Literary Agent, Watson Little and the Right Worshipful the Mayor and Mayoress of Winchester, Cllr Ernie Jeffs and Mrs Barbara Jeffs.
    James Wills, Literary Agent, Watson Little and the Right Worshipful the Mayor and Mayoress of Winchester, Cllr Ernie Jeffs and Mrs Barbara Jeffs.

    Gary then introduced Cllr Ernie Jeffs, the Right Worshipful the Mayor of Winchester, and revealed that Winchester had the second oldest Mayoralty in England.

    Cllr Ernie Jeffs started by answering the question in everyone’s minds; the oldest mayoralty in England was, of course, London. Cllr Jeffs recounted how he had attended the Winchester Writers Conference of 2013, and had been most impressed by the advice that Julian Fellowes had had to offer. He also noted that Barbara Large had run the conference for 33 years before handing over, and hoped that 2014 would go well.

    As a result of praiseworthy research, we now have a list of the mayors of Winchester from the year 1200, he was the 814th, and was very proud to have been elected to the office. The Mayor has the use of a house in Winchester, one which has neither bedroom nor bathroom, and is used mostly for meetings. However, Cllr Jeffs was very keen for the public to use it as well as the city officials. The house was built on the site of an abbey founded by the wife of Alfred the Great and existed until the dissolution of the monasteries under Henry VIII. In 1889, Winchester City Council bought the house for £5,500, and its use is now largely ceremonial.

    The duties of the mayor are considerable, and can involve up to 500 events per year. Over the Christmas period, he attended 22 carol services and 5 nativity plays. Regarding the latter, he had been advised to attend the dress rehearsals, the parents’ evenings generally being prone to descend into chaos, and so he did, although at one of these Baby Jesus was continually dropped on the ground by a somewhat maternally-inexperienced Virgin Mary. He had also led support for a number of charities; Help for Heroes, the Countess Mountbatten Charity, and the Scouts of Winchester. The last event he would attend would be a concert to be held at St. Swithuns at 19.00 on the 24th of May (to be preceded by a picnic) and for which tickets were widely available.

    Referring to Winchester’s place in the literary world, Cllr Jeffs mentioned Jane Austen, who spent her final time in Winchester before her premature death, and who now has a splendid memorial in Winchester Cathedral. Thomas Hardy mentions Winchester in “Tess of the D’Urbervilles” and was reputed to have based his heroine on Mrs Hamo Thornycroft, the wife of the sculptor of Alfred’s statue in Winchester. Sir Arthur Conan Doyle also wrote three stories in Winchester. And of course the Winchester Bible, now conserved in the cathedral, is Winchester’s oldest book, having been created between 1160 and 1175.

    The Right Worshipful the Mayor and Mayoress of Winchester, Cllr Ernie Jeffs and Mrs Barbara Jeffs
    The Right Worshipful the Mayor and Mayoress of Winchester, Cllr Ernie Jeffs and Mrs Barbara Jeffs

    Two books about Winchester have impressed Cllr Jeffs: “The Bloody History of Winchester” the launch of which he hosted in December 2013, and “Time Gentlemen Please” about Winchester pubs. Cllr Jeffs admits he was “rubbish” at English at school, preferring maths and science, and eventually becoming an engineer. However, as an engineer he had to write proposals and reports, and frequently had to correct those of others. Cllr Jeffs ended by thanking the University for its support of the HWS and said again what a huge privilege it had been to be Mayor of Winchester.

    James Wills then took the stage and launched into his talk on “Do I need an agent in the Digital Age”. His immediate answer to this, surprisingly perhaps, was ‘no’. Do we wrap up now? he asked the members. However, he then went on to ask the members how many possessed electronic readers, and also took a rough poll of those who wrote fiction and those who wrote non-fiction. Twenty years ago, self-publishing used to be termed ‘vanity publishing’ but this was no longer the case. So, do you need an agent today? After all, the agent often seems to be a gatekeeper, all too often preventing your book being published. James then made the all-important point; do you, as an author want to write or do you have to write? There is a huge difference in mentality between these two groups of authors, and he is interested in the 25% or so who simply have to write. So, when it comes to the question of how writers get an agent to represent them, a big part of it is to realise that the agent wants to do more than simply push an author’s book to publishers; the agent wants to help the passionate.

    Career management of the thoroughly committed is the ultimate aim of the agent. If an author can transmit the passion for his work to the agent, then the agent in turn can transmit that passion to the publisher, and the commissioning editor can in turn transmit that passion to the Acquisition Meeting. Editors now have accountants and marketing people to contend with; the book is no longer the end of the debate, possibilities are now the emphasis – possible film, TV, and theatre, and project momentum is the key. Most authors will not be an all-rounder – there are very few like Stephen Fry (although Stephen Fry does have an agent…) – most authors should be allowed to get on with what they do best: write.

    Becoming a good writer depends for a great part on being a good reader. You, as a writer, should read as much as you can. Even though you might wish to ‘do something new’ you have to know the rules before you can break them; all too often the ‘great new idea’ painstaking developed by an author will turn out to have been done before; possibly many times. You will not be contaminated by reading: you must want to learn. If you want to write children’s stories then buy some and see how others achieve their effect. Research! Talk to people! Successful authors actively monitor and absorb the trends.

    Regarding the approach to be made to an agent, if you do not plan this sufficiently you are very likely to suffer a rebuff. Watson Little handles a very wide range of subjects, and it is important that you find the correct agent for your book. When making an approach, avoid doing, or stating, anything that might put off the agent. Be concise, professional, and passionate. The slush pile can also be the talent pool, but you have to do what is necessary to float to the surface. In short, an agent wants to manage the career of their charge, in good times and in bad, so you have to be worth managing.

    A question and answer session was then conducted with James answering quick-fire questions from the members to finish. Please see the separate blog for James’ question and answers.

    Gary thanked James for his fascinating and very useful talk and then handed over to Jim Livesey for the competition results.

  • Poets: Fleur Adcock and Julian Stannard

    Report by David Easforth.

    Barbara Large opened the meeting by welcoming everyone and reminding us that the purpose of the HWS was for all of us to learn to write to ‘industry standard’.  Our membership was growing and now included many people from outside Hampshire, in fact from West Sussex to Dorset.

    Barbara welcomed Fleur Adcock and Julian Stannard, the speakers for the evening, and then introduced Dr Stephen Wilson, Trustee of the Poetry Society, and Brian Evans-Jones, who was to be the competition adjudicator for the evening.  Barbara then invited Judith Heneghan to talk for a few moments about the upcoming Writers’ Festival.  Judith outlined the main schedule, which would comprise a series of workshops, talks, and courses over the period of the festival: Friday to Sunday, 20-22 June, 2014.  There would be opportunities for one-to-ones with literary agents and publishers, and Joanne Harris, author of Chocolat, would be the keynote speaker.  Free events would include two book launches on the Friday, and there would be an “Open Mike” session where new work could be introduced.  On the Friday, poet Rhian Edwards would be present, as would Sathnam Sanghera.  There would be many other literary figures attending, including Julian Stannard on the Sunday.  She reminded everyone that full information could be obtained from the festival website: www.writersfestival.co.uk.

    Barbara then announced two very sad events, the deaths of Keith Bennett and Hazel Donnelly.

    Keith had been a great champion of young writer’s poetry, and had managed the Tesco-sponsored National Poetry Day competition, which had resulted in 850 entries from the three age groups: 6-11, 12-15, and 16-18.  Keith had written comments to the entrants on all 850 entries, which had indicated his enthusiasm and commitment to the event.  Keith, a probation officer by profession, had passed away at his desk.  All contributions will go to the British Heart Foundation.

    Hazel had been a great supporter of the HWS and sadly had passed away after suffering an asthma attack.  Hazel had won several of the monthly competitions and, as a tribute, Brian would read her entry for April.

    Dr Stephen Boyce then spoke about the Winchester Poetry Festival.  Stephen explained that he came to poetry late in life, but had now edited two collections of poetry which were being published by Arrowhead Press.  The Winchester Poetry Festival had been the brainchild of a group of poetry enthusiasts who had noted that while there were a number of poetry festivals in Britain; St. Andrews, Ledbury, Aldburgh, the “south coast” was not represented.  Thus the Winchester Poetry Festival had been born, and would take place 12-14th September, 2014 at the Discovery Centre.  The group of trustees had raised £40k.  There would be three strands: WWI, Poets with a Hampshire connection, and contemporary poetry.  Stephen gave examples of some of the activities; Patience Agbabi, author of a modern rewrite of the Canterbury Tales would be present on the Friday, and there would be a poetry slam.  On the Sunday there would be a commemorative reading of WWI poetry, with poems from Britain, France, Germany, and Russia.  On the 14th of May, there would be a big preview event at the Discovery Centre, and the band “Epic” would perform three thousand years of poetry in sixty minutes.  The aim is to make the festival a biennial event.  Full details are to be found at www.winchesterpoetryfestival.org.

    Fleur and Julian were then introduced, and in turn read a number of their works, which were under the heading of “Travels in Poetry”.  Fleur, bravely continuing despite being afflicted by a bit of a cough, read a number of poems which reflected her personal experiences. “The Saucer” was a poem about sighting a flying saucer which she had started and then returned to some years later. “Alumni Notes” was a poem addressed to a friend, and “Charon” asked where the ferryman was when he was most needed. Fleur took a well-earned break and Julian took over.

    Julian Stannard & Fleur Adcock
    Julian Stannard & Fleur Adcock

    Julian began with a poem to his first father-in-law, Bruno, “Bruno Cuts My Hair In A Place Called Ether” which recalled Bruno’s talent as a barber. “Horizontal” made the remarkable link between the French poet Rimbaud and a green wheelie bin. “September 1939” about the day war broke out, “I’m Homesick for Being Homesick”, about dressing up in an assortment of hand-me-downs before taking the dogs for a walk.  “The Blessing of the Octopus at Lerici” recalled Julian’s time spent on Genoa. There were also poems about lunch: “Lunch with Margot and Tinker”, “Lunch with Alex and Mildred”, and even “Lunch with Fleur”.

    Fleur then returned to read “The Royal Visit” about the royal visit to New Zealand she witnessed in 1953, and “Slaters”: an interesting species of arthropod.  At this point, Gary took over to handle questions from the attendees.  There was, naturally, interest in how Fleur started her career in poetry, and she replied that she had always been fascinated by poetry from a young age, and had started writing in earnest by the time she reached adolescence.  The more she read, the more she wrote.  The question was also asked as to what time of day was the most productive for her, to which the answer was early morning or late at night; being half asleep seemed to trigger the creative process.  In answer to the same question, Julian remarked that inspiration always occurred at a time when he was not carrying a notebook.  However, sparks often began to strike when in conversation.

    The question came up as to what would poetry be like in two thousand years, to which Fleur replied you could also ask what it would be like in ten years. In answer to the question “Do you follow a theme?” Fleur’s reply was yes; the years her father spent running a farm in New Zealand. This had inspired a recent collection which was now with the publisher. And if Fleur was “inspired by places she had lived in” what did she think of modern Britain? Fleur replied that some thoughts were not publishable! Julian also responded to the question, and said that living in Southampton provided most inspiration; especially Shirley High Street, where gems such as a goat butcher and 1970s pubs were to be found, with the distinct possibility that, at one end, the end of the world was likely to be encountered.  Brian asked Julian if place names meant something just to him or were they also intended to affect the reader.  Julian replied that it was always nice to mention place names; very self-satisfying, and the readers seemed to like it.

    Fleur was asked if writing poetry was natural, or did she have to work at it.  Fleur replied that the more she did the more easily it came; one was always thinking and refining.  To finish the session, Julian read Fleur’s “Smokers for Celibacy”, an Ogden Nash’ish appraisal of sex which pretty well brought the house down.

    Barbara closed with some comments about the next two meetings; James Wills, literary agent, in May; and would people please email their questions for James in advance so that as much material could be made available for him prior to the event?  Lady Carnarvon would be the speaker in June, where the venue would be Chawton House, and the usual strawberries and cream would be available, as would an area for people to bring their own picnics.  Finally, Brian mentioned that he had a workshop in plan for Saturday the 26th of April, 10.00 to 16.00, for which there were still places.

    Funeral of Hazel Sara Donnelly

    Family flowers only please, but donations in Hazel’s memory to ‘Asthma UK’ would be gratefully accepted.

    Links to a gift aid form and to Asthma UK can be found below:

    If donating cash or by cheque, please consider including a Gift Aid form available on this link: http://search2.hmrc.gov.uk/kb5/hmrc/forms/view.page?record=qcUc55GzefQ&formId=734

    Alternatively, if you wish to do this online and therefore make the Gift Aid element slightly easier, please visit this link:  http://www.asthma.org.uk/Pages/Appeal/#

  • Elizabeth Buchan Evening March 2014

    Report by Gill Hollands.

    Bobbie Neate was introduced as an ex senior lecturer at the University of Winchester. She left to work in educational publishing and has now set up her own non-fiction business. Her new book is called Conspiracy of Secrets which is about a family tragedy and serendipity. The book took nine years to write and research, five of which were full time.

    Bobbie’s reason for writing this book is because of her stepfather, Louis Thomas Stanley. He had always been very secretive about his birth and when she found a picture of Asquith and compared it to one of her stepfather, the likeness was striking. Digging deeper. she found that Asquith, who became Prime Minister in 1912, despite having seven legitimate children already, had a girl friend, Venetia Stanley, who was twenty-one at the time. Bobbie found several letters that made it clear that Asquith turned to Venetia for advice during the war. Further investigation confirmed that indeed her stepfather was the illegitimate son of Herbert Henry Asquith. For full details, see The Asquith Report.

    Bobbie Neate & Elizabeth Buchan
    Bobbie Neate & Elizabeth Buchan

    Elizabeth Buchan was introduced as a historical writer with a double degree in history and English. She began as a blurb writer for Penguin, even writing the introduction to Peter Rabbit, and was the Fiction Editor for Random House. She writes critical reviews, is the patron of the Guildford Book Fair and the ex-chair of the Romantic Novelists Association, as well as being an RNA prize-winner with 16 titles to date. Her book Revenge of the Middle-Aged Woman is now a TV movie and New York Times Bestseller. Her new book ‘I can’t begin to tell you’ comes out on 1 August.

    Elizabeth started by saying what a great community, writers are. She quoted Red Smith ‘There is nothing to writing – all you do is sit at a desk and open a vein.’ She feels this is correct. However, the bald sentence leaves out the fact that you begin on a rich and fascinating journey, both physically, as she has now been all around the World, and internally, as you discover a new internal landscape; a surprising adventure.

    She found being a blurb writer for Penguin, a great job; feet on the desk, reading the whole catalogue. She became a dinner party bore with all the facts she took in. Basically, she said blurb writers were pond-life who get kicked by sales, editors, marketing and authors. They took their revenge in words; e.g. if the blurb said ‘enchanting’ there was a dog in it; if it was ‘heart-warming’ there was a dog and a child; if it said ‘heart-wrenching’ they died; if it said ‘thoughtful’ it was boring; if it said ‘provocative’ it was irritating, etc. She considered blurb writing a mini art form. She did get into trouble once due to a misunderstanding and received a ‘To Whom It May Concern’ letter from a disgruntled reader whose name she had used by mistake for a dog. Even Dirk Bogarde in his writing days was upset by praise asking, ‘If I’m a writer on top form, where else do I have to go?’

    Catherine King with Barbara Large
    Catherine King with Barbara Large

    The lesson to learn is that each word has to earn its place and be genuine, apt and fresh. With writing novels it helps to be disciplined. Search for the essence of the book before you start. Empathise with the material and be economical with the truth. Each word has to count.

    The main requirement is to love what you are doing and do it with a passion, not as a grind or a chore. Keep your love for it sparkling and alive. You don’t have to travel to experience great changes. Good stories can be created just as well in a domestic setting. Be aware that you handle subjects differently as you age.

    Elizabeth was recently inspired by a visit to Denmark which was invaded during the war in 6 hours and became a protectorate. When the Nazis wanted to round up all the Jews they disappeared, hidden in barns or rowed across the sound by sympathetic Danes. She was very interested in the coding and the mistakes that were made. She wondered how a psyche would cope with the violence and how you go back to normal when it’s over. War is about lies.

    Finally, she offered one last anecdote about a writer who read a factual account in a local newspaper about a woman who fell under a train and a custody battle. This is what triggered Leo Tolstoy to write Anna Karenina. With that, she rested her case.

  • Scriptwriter, Steve Hawes speaks to the Hampshire Writers’ Society

    Report by Carole Hastings

    Chairman Barbara Large introduced this evening’s guests and told the audience about Chawton House Library’s Jane Austen Short Story Award 2014 see: http://www.chawton.org for details.

    The special speaker was Deborah Edgington, head of marketing for the Chesil Theatre. The theatre’s home for the last 40 years has been a former 12th century church.  It is one of the oldest buildings used as a theatre today and is one of the oldest dramatic societies in the country, celebrating its 150 anniversary this year.  They have six productions each year and are always looking for new members to be involved on a number of fronts.  In 2008 they performed 10 plays written by members of the Nuffield Theatre that were 10 minutes in length.  In 2010, The Chesil set up the 10 x 10 Drama competition open to members of the Chesil Theatre and local interested parties.  This was extended to a county wide competition in 2012 and in celebration of their 150th anniversary this will be a national competition open to all writers over the age of 16.  The deadline is April 25.  For details on the competition, membership and to find out what’s on: ww.chesiltheatre.org.uk

     Feb 14 Steve Hawes

    Steve Hawes joined Granada Television as a sports journalist in 1976 where he became Head of Drama. He produced sport and documentary features for ITV’s regional and national networks 1978-82, and adapted Arthur Ransome’s fishing stories for Michael Hordern, Rod and Line, Channel 4 1982.   He started producing drama in 1984 and subsequently moved to Paris to produce the first twelve episodes of the Maigret series starring Bruno Cremer, which ran until 2006 when the 54th episode was aired. For the last few years of the run he was lead writer on the series.

    He is currently polishing The Great Charter,  a play about the Magna Carta and his adaptation of Dimitri Verhulst’s novel, Probelmski Hotel, with Director Manu Riche and a multinational cast, as a joint film and theatre association between the Flemish film fund (VAF) and KVS at the THÉÂTRE NATIONAL in Brussels.   His version of Beauty and the Beast, with songs by Stephen Solloway, ran for the Christmas season 2011/12 at the Haymarket Theatre Basingstoke, where his play set in a Venetian convent, Original Sin, also opened in 2009.Steve opened his session with a quotation from Shakespeare’s Julius Caesar:

    Let me have men about me that are fat;

    Sleek-headed men and such as sleep o’ nights:

    Yond Cassius has a lean and hungry look;

    He thinks too much: such men are dangerous.

    He remarked that a university campus has too much thinking going on and was as such a dangerous place.  He counselled writers to trust their instinct when writing, to write viscerally, shut off their critical self and to avoid over thinking.  Keep to gut feeling rather than intellect.  To keep focused on what will create the best drama, he suggested making notes with the opposite hand that you use normally, avoiding a lengthier version which may take you away from the heart of the piece.  He pointed out that major turning points in drama are about the visceral.  Shakespeare’s Macbeth and Aeschylus’s Oresteia are good [and bloody] examples of this.

    When Steve was researching The Great Charter he discovered that of the 63 clauses in Magna Carta, a third relate to men possessing women and that women were fundamentally jailed by the church in marriage.  When he set about his plan for it he focused on suspicion, aware that the only time a person’s word was trusted was when they spoke to a priest.  Hence the need for the Magna Carta and due process requiring the state to respect legal rights of all individuals.

    He set his first act in Winchester Cathedral with King John being re-anointed as King.  He is avoiding confession as he and the Archbishop both know that there are things that the Archbishop should not know about.  However the Queen inveigles the Archbishop into hearing her confession and she tells  him things he otherwise would not believe.  Steve creates this dramatic action by drawing the queen to the front centre stage, has her dropping to her knees facing the audience and positions the Archbishop directly behind her, fading out all lights on stage other than on their faces.  An act of pure theater.

    This juxtaposition of time works well on stage, where time is more elastic but on film another solution would be needed involving relocating away from the body of the Cathedral.

    Steve feels closeups are a key benefit of film as expressive faces and eyes can create a contrast between text and subtext not achievable on stage.

    He cites that on film you need to advance or retreat in each scene but not run on the spot as you can in theater where some of the most rewarding moments can be when time stands still.  This view is also held by Robert McKee who asks “what is the value of this scene?” in determining whether it should stay or cut.  In a film version of Hamlet with Laurence Olivier, the scenes in the second act were reduced from eight to three keeping the drama moving on in each scene.  Steve maintains that the key to effective drama is maintaining an unstable equilibrium.

    Steve talked about breaking down the fourth wall between actors and audience and said that in his experience actors like moments of complicity with the audience, but producers and editors don’t.  He warned that often a writer’s favourite elements in his own play are often too writerly and often need editing.  He reminded us that often the visceral moments are the quiet moments and left us with plenty to think about…

  • Megan Farr and Sarah Mussi PowerPoint Presentation January 2014

    How to write a children’s book that editors know they can go for…

    What do editors want?

    • This is a total mystery to most writers , so we have to be cunning sleuths…
    • What might they go for? … Pick up your magnifying glass – let’s start to see if we can find any clues…
    • Start by examining the crime scene…
    • Checklist
    • What do children like reading
    • What will parents buy/ librarians stock?
    • What has succeeded before?
    • Why has it succeeded before?
    • Others?

    Red herrings…

    • Editors go for some books that include factors which are totally beyond your control.
    • So don’t be side tracked…

    Things beyond your control

    • Being famous like David Beckham
    • Already being published by the editor
    • Having entered the canon like To Kill a Mockingbird.
    • others?

    What does that leave?

    • YOU
    • So only look at books that:
    • Are written by a writer like you
    • Have no extraordinary advantages in terms of editor-go-for-ness.

    So what DO editor’s think they can go for?

    • I’m an author –so I don’t really know – so I have to make an educated guess: a book that they can:
    • Sell rights to?
    • Get into festivals?
    • Interest bloggers?
    • Get into schools?
    • Create a buzz about?
    • Take to book fairs?
    • LIKE ? (that’s pretty vague!)

    Hopefully Megan can tell us more!

    Back to the crime scene…What did those successful books do?

    • Pleased librarians
    • Engaged       child readers
    • Were age appropriate
    • Educational ? Or dealt with interesting issues?
    • Page turning
    • High concepts
    • Original and unusual USPs
    • Well written
    • Saleable…

    What do I (The Mussi) do?

    Before I try to get that killer contract I…

    • Research books being currently published (by publication house if possible)
    • I try to create a data base of the interests of editors (don’t often get very far with that)
    • I read new books out
    • I interview children on their likes and dislikes

    4 Key Ingredients – I always try to include in a proposal

    • Some depth in the story
    • Page turnability
    • Original and exciting concept or a new original exciting take on an old one
    • Interesting voice or narration

    So how do I set about doing that?

    • I brainstorm ideas that suit
    • I eliminate any idea that are not original enough
    • I check the idea against the list /data base I’ve created
    • I write a story pitch for the idea
    • I repeat this until I have a portfolio of possible ideas
    • I send them out to other trusted readers for feedback (I am only interested in negative feedback)
    • I redraft the ideas

    What then?

    • I can go straight to my agent…
    • but if you don’t have one…
    • You will need to write up the first few thousand words. (If an editor is interested in one of my ideas I have to do that too.)
    • And send it out or pitch it – at a one to one.

    And what if nothing happens?

    • I do it all over again.
    • My philosophy is very simple
    • If at first you don’t succeed – give up (with that idea)
    • Where there’s a will there’s a way (and if there’s no way there’re always excuses)
    • if they aren’t interested in an idea, and don’t think it’ll sell – then why the heck should I be?
  • Celebration of Jane Austen: What Matters in Jane Austen?

    Report by Carole Hastings

    The Hampshire Regency Dancers opened proceedings by dancing a selection of dances as would have been enjoyed in Jane  Austen’s day.  They demonstrated dances that offered opportunities for flirting, away from beady-eyed chaperones.   A few members and guests took to the floor for a lesson at the end of the session.04_ Regency Dancers Dec 13 (2)

    Barbara Large, aka Lady Catherine de Bourgh, welcomed everyone, some resplendent in regency costume. She then introduced the special guest of the evening, Angela Hicken, Literary Development Office for the Hampshire County Council, a role has had had for eight years.   Her role is county-wide and she tends to operate from the Discovery Centres of Winchester, Basingstoke and Gosport.

    09_ Reg Dancers Dec 13 (3)Angela has introduced a number of “meet the author” events and panel evenings and encouraged the audience to take part in A Perfect Crime Day on Saturday March 8 at the WDC.  During the day there will be a fact meets fiction event and in the evening there will be an Are You Sitting Comfortably? performance of crime stories by the White Rabbit company.  Send your 1000 word crime stories to areyousittingcomfortably@live.com by February 22.  Angela will soon announce the winner of the Hampshire Poet Laureate for 2014 and reminded everyone that the Writing Hampshire website provides poets with a chance to say what the county means to them.

    There are a number of initiatives running in the county, including poetry cafes, reading groups etc.  The new WDC brochure will be available soon but many events 2014 can be seen already on www.hants.gov.uk/wdc.  As only 36% of the UK read for pleasure and libraries are under pressure,  Angela stirred the audience to go and discover some books they might not think to read and get involved with the writing opportunities on offer there.

    07_ Reg Dancers Dec 13 (3)David Eadsforth, dashing in his regency uniform, introduced the main speaker of the evening, John Mullan, Professor of English at University College London. He was a Research Fellow at Jesus College, Cambridge and a Lecturer at Fitzwilliam College, Cambridge, before joining UCL in 1994.  John is a specialist in eighteenth-century literature and is at present writing the volume of the Oxford English Literary History that will cover the period from 1709 to 1784. He has edited a number of works by Daniel Defoe and his edition of Samuel Johnson’s Lives of the Poets was published in 2008. He also has research interests in the nineteenth century, and in 2012 published his book What Matters in Jane Austen?

    John ran a lively session predominantly asking the audience questions and providing the answers when they weren’t forthcoming.  These  ranged from which Austen character had been to Cheltenham [Mary Crawford, the antagonist in Mansfield Park]  to which wife is the only one in an Austen novel who addressed her husband by his forename [Mary Musgrove in Persuasion].  He pointed out that Mary refers to her husband as Charles when she is about to disagree with him and he refers to her as Mary, when he’s about to make a point that she is wrong.  The Bennets, however, remain on surnames throughout Pride and Prejudice.11_ John Mullan Dec 13 (3)

    Not long into his session we learnt that everything matters in Jane Austen and that no words are wasted anywhere.  He discussed the issue of age in Austen’s books as she highlighted age a good deal, making the point that most women are approaching the years of danger once they are more than 27 years old.  He stated that in Pride and Prejudice, Charlotte Lucas [27] and Mr. Collins [25] had the shortest courtship and all carried out in full view of the Lucas and Bennett family.  It was a whole afternoon!  Christmas also features in all her novels whether they were a feature of regular balls or a family visits.

    It was an interesting evening packed with snippets and plenty of food for thought.   There will no doubt be some rereading of Jane Austen novels to pick up the nuances we may have missed in the past.

  • Dr Ros Barber at the HWS

    Barbara Large opened the evening by welcoming special guest Dr Mick Jardine, Head of English, Creative Writing and American Studies at the University of Winchester, Dr Ros Barber our main speaker and Mark Rutter adjudicator for the November competition.  She also introduced James Walpole, the new Social Media Secretary on the organising committee. James is in his final year studying English and Creative Writing but also is a contributing author to Cinema Chords.

    Dr Ros Barber & Dr Mark Rutter
    Dr Ros Barber & Dr Mark Rutter

    Mick described himself as the warm up for Ros Barber. He joined the University in 1978 and been a key player in the theory revolution team that has facilitated the original English Studies morphing into Cultural Studies. He himself has recently produced papers on celebrity culture, writing about David Beckham and Michael Owen rather than Hamlet as he did for his PhD dissertation. Now there are more students of Creative Writing than English Language students at the University.

    David Eadsforth introduced Dr Ros Barber who as well as being a celebrated academic, has written three collections of poems, written for radio and TV, held various writing residences and written an award winning debut novel entirely in verse, The Marlowe Papers.

    Ros was told that she was not allowed to research whether Shakespeare did write work attributed to him as part of a PhD project, unless it was with the intention of producing a novel. It seemed there was a fear of doubting caused by snobbery, ignorance, conspiracy theory and a belief that those interested to find out more must be Shakespeare haters.

    Her investigations showed that there is hard evidence that Shakespeare was a business man and a broker involved in land, grain, tithes, shares, marriage dowry transactions and money lending. He was a shareholder in a number of theatrical organisations and had his name on thirteen plays. There were other plays and poems that had his name that he did not write. The repressed Elizabethan era was a difficult time to be a writer and often writers might use a front person to avoid torture or death. His signature that appears on various works seems to have been the work of up to four people and his hand writing is difficult to read unlike those of other playwrights of the day such as Marlowe and Bacon.

    Ben Jonson, the satirist hinted that he doubted that Shakespeare wrote all he claimed to although he appeared to support him publicly. His authorship was also doubted by John Marston and Joseph Hall in 1598. Diana Price, in her book Shakespeares Unorthodox Biography, developed a Literary Paper Trail of ten indicators of an individual being a writer at this time:

    • evidence of education
    • literary letters
    • evidence that they were paid to write
    • direct relationship with a patron
    • original manuscript
    • hand-written literary notes
    • commendation verses
    • miscellaneous personal references
    • books owned or borrowed
    • notice at death as writer

    Jonson had all ten indicators, Nashe nine, Marlowe as few as four or three and Shakespeare had none, though a lot of work attributed to him appeared to indicate a Cambridge University education he did not have.

    We are led to believe he is the author of William Shakespeare’s Comedies, Histories and Tragedies, as it has his name on it. There is also a memorial to him in Stratford upon Avon referred to by Ben Jonson.  The engraving on the monument uses rare Latin words for the day whose initials spell the word IMPOST – a tax on merchandise. The main script is ambiguous too.

    untitled

    All the real evidence as to who Shakespeare was, profiles a business man broker with supporting comments from his contemporaries that he may have been involved in buying and selling plays and poems. Ben Jonson, “Poet-Ape, who would be thought our chief”  “from brokage” to “thief”; John Ward, Shakespeare “supplied the stage with two plays a year”; Michael Drayton, Shakespeare “trafficked with the stage”.

    Ros ended her exciting and scientific appraisal by saying it does matter that Shakespeare’s authorship is doubted. An error needs to be corrected so that the right person gets the credit, we need to understand the genius that comes from groundwork, understand the sonnets better and stop barking up the wrong tree.

  • Writer, broadcaster and producer, Susan Marling at the HWS

    report by Carole Hastings

    HWS Chairman, Barbara Large, opened the evening by saying it was the Society’s intention to help move members closer to their writing goals with an exciting programme. She welcomed Susan Marling who she had met at the Society of Authors and apologised that Sasha Twining from BBC Solent could not come due to a work commitment. She will be part of another evening in the future when she will bring a small crew with her for a short session on producing for radio. Barbara encouraged everyone to pick up details of the 37th Pitstop Refuelling weekend in November from the welcome desk. Details on the ‘Events’ page.

    David Eadsforth, Events Secretary, introduced Susan Marling who set up Just Radio in 1995 and is consistently producing programmes for radio with original approaches on Ernest Hemingway to Salvador Dali and Pete Townsend.

    01_ Oct Susan MarlingSusan started her career as a Head of English in a London comprehensive school before she started writing for national newspapers and radio. She approached producers with the offer “I’ll give you five ideas if you let me do one of them.” After working in TV, she decided to move to radio as she recognised that women have a short shelf life on television.

    She said ideas are the currency of a writer and they need the ability to adapt their texts to appeal to a wider audience for radio. Writers need to be able to mine the treasure they have e.g. a travel writer needs to create a number of angles on a trip to be able to sell the idea to a number of outlets.   Commissioners want writers to draw their work into the present day and to have a fresh look on history and historical events.

    To that end, Susan worked with Jenny Uglow on taking her acclaimed book on Hogarth and reframing the material as Hogarth, the modern moralist, by overlaying the Rake’s Progress on Soho. She also produced Uglow’s The Lunar Men about the Lunar Society of Birmingham who shaped and fired the modern world under the leadership of Erasmus Darwin. James Bond, the Last Englishman written by Professor David Cannadine who theorised that Fleming invented James Bond as a consolation to the British for loss of empire after World War II, was also one of Susan’s Just Radio Productions.

    Last year she produced Lawrence of Arabia: The Man and the Myth, presented by Allan Little. This positioned Lawrence as the father of modern guerrilla warfare and as the man who predicted future strife in the Middle East in the wake of WWI and the Sykes-Picot agreement.

    In May this year, she produced Food: A Scandalous History when the horse meat scandal was on everyone’s thoughts. It was recorded at Borough Market and fronted by Giles Coren who interviewed Rosalind Crone, writer of Violent Victorians on what was used as food fillers in Victorian times.

    We heard that the BBC commission twice a year and a tender document is used for both in-house and freelance producers. These outline slots that are available from 15 minute pieces that might run across the week to longer pieces.

    An idea needs to be captured in 200-300 words and the commissioner will explore a dozen ideas and then the pitch takes place. Often you don’t get the result for a long time and there is usually a delay on getting your work on air. Currently Susan is working on a programme which will not be aired until March 2015 at the earliest. In house producers at the BBC have their work guaranteed as there is a quota system.

    Susan’s recommendations on how to pitch were as follows:

    1          Identify a producer

    2          Think about what you want to say

    3          Refine it

    4          Be clear on what you can bring. Is it:

    1. an untold story
    2. special access of some sort -[story of family etc.]
    3. talent

    5          Be aware of when to stop selling – don’t spoil a potentially good relationship!

    She said it was impossible to patent ideas but worth testing them on people you could trust before approaching the BBC. Commissioners welcome comedy but it needs to be clever and witty.

    This interesting talk gave the audience plenty of food for thought and a number of writers went home considering how they might adapt some of the work they had already written.

    Listen out for…  Just Radio Productions

    Selling British Luxury (BBC Radio 4, Monday 14th October 11am)

    Laurence Llewelyn-Bowen investigates the popularity and success of British luxury brands abroad. He traces the appeal of British manufactured products in emerging economies and discovers how heritage brandssuch as Rolls Royce, owe their healthy sales to the highest quality British manufacture, and, often shrewd online marketing.

    The British Mosque (BBC Radio 4, Thursday 17th October 11.30am)

    At a time of unprecedented mosque construction and following Newham council’s rejection of the controversial Abbey Mills ‘super mosque’, architecture critic Jonathan Glancey examines the architectual state of the British Mosque.

    The Devastation of British Art (BBC Radio 3, Sunday 20th October, 6.45pm)

    Diarmaid MacCulloch marks the start of the Tate Britain exhibition on iconociasm with a programme on the destruction of religious art6 during the English Reformation.

    Programmes coming up:

    Whitsun Weddings presented by Jean Sprackland (poet) (Radio 4, 1st December)

    Bryan Ferry’s Jazz Age ( Radio 4, 9th December)

    Algo World presented by Natalie Haynes (comic) (Radio 4, 9th December)

    Staging a Revenge presented by Isabel Sutton (Radio 4, 8th Juanuary 2014)