Hampshire Writers' Society

Category: HWS Events

  • P.D. James Talks to Hampshire Writers by Adrienne Dines

    There are two elements to a successful Detective Story:

    • Mystery with plenty of clues to be solved;
    •  It has to stand alone as a good novel.

    The golden age for Detective Novels was between the great wars; we are now in another golden age. That said, there is never a convenient time to write any novel. You have to decide ot get on with it – then get on with it!

    All fiction is autobiography (and a lot of autobiography is fiction!). While we stay within the constraints of a detective novel, we tell truths about men and woman. Our ambition must be to be a good writer and for this we are lucky to have such a colourful and expressive language. English is the most beautiful language in the world and it is a privilege for us to be able to work in this language.

     

    Protagonist

    Who am I writing about – a professional or an amateur?  There are dis/advantages to amateurs:

    1. they can have your own interests and hobbies;
    1. they can’t keep falling over bodies (except in Midsomer);
    1. the police won’t really welcome the interference;
    1. they can’t be more clever than the police;
    1. they have to know which policeman to call!

     

    There are dis/advantages to professionals:

    1. they’ve got all the resources;
    1. you need to be accurate – talk to pc’s;
    1. being accurate can slow down the action.

     

    Characters like retired couples are great – they have time, and possibly money, to snoop around and the dynamics of their relationship adds interest.

    Currently, there are no famous detective teenagers – opening for a writer there.

     

    Inspiration

    Once you have the detective, you need to get the idea, the new method of murder! You need to research forensic pathologists, new ways to poison, new instruments to hammer blows on the victim.  You need to think of a suitable setting – an old house; a stretch of beach; a community of people; a nuclear power plant; a nursing home.

     

    Writing

    The setting must come alive but it must not hold up the story so you must practise your descriptive writing. Get into the habit of writing down the description when you see something useful and choose carefully. Setting, character, plot and theme have to hold together so be careful when the setting is very distinct. Currently – nobody had written a crime novel set on an oil rig because it is too hard to get access/first-hand accounts (*except that I can!!).

     

    Characters

    Character have to come alive.  Some writers, like Agatha Christie had stereotypical characters – the canny spinster, the vicar, the wealthy cad, the suspect man from abroad, the apparently (but not really) innocent secretary, the ne’re-do-well brother.

    All your characters come from real life but are subtly changed by imagination. We must look to ourselves for our characters, use our own emotions and reactions.  For a writer, no experience or emotion is ever lost but you must find the right words to convey that emotion so that it is real for the reader.

     

    Structure

    The construction of a novel is important – the excitement must be distributed evenly. The beginning isn’t always written first.  Ngaio Marsh had great beginnings then wheeled the characters in for interview. Different characters had different reactions and she chose the best.  The characters set the tone of the novel, a sinister portent that the calm will soon be shattered.  In the end, the truth must come out.  One way to approach it is to write everything that happens in order then divide it up so that there’s excitement in every chapter.

     

    Theme

    It is good for the story to be about something, not just death and discovery.

     

    Language

    Respect the language, respect the words you use and use simple words in new ways. Be sensitive to devices and desires. Make sure your opening sentence is a good one – “Brenda was the fifth victim of the murderer because she missed the bus…” suggests a whole back story that has to be fed in so it works well as an opener.

     

    The Writer

    The writer is in a strange position. S/He has to be both the character and the creative artist. You are in the scene, so work out what will frighten the character and transfer/recreate that fear for the reader.  Graham Greene said that you must have “…a splinter of ice in your heart.”  You are both within and out with the action so you must “…feel the emotion but be the writer.”

    P.D.James is particularly proud of a line in Death comes to Pemberley which she wrote in the style of Jane Austen – “Elizabeth knew that she was not formed for the sad contrivances of poverty.” When asked who her favourite writers were, Austen was top of the list, with Evelyn Waugh and Hilary Mantel.  When asked why ‘P.D’ she said it was simply for speed if there was a long signing!

     

    EXERCISES

    1. Make a list of your own hobbies and interests.
    1. From that list, draw out skills that are required to pursue the interest.
    1. How might those skills be useful for a) a criminal; b) a detective?
    1. Make a list of character traits.
    1. Make a list of everyday situations – a traffic jam; a school run; preparing a meal…
    1. How do those traits dictate how a person might react in the various situations? For example, an impatient person will not suit a traffic jam but a dreamer might welcome to opportunity to tune in to Classic fm.
    1. What makes a person appear innocuous – consider looks, mannerisms, occupations (this should be a comprehensive list!).
    1. For each of your characters, choose a name. How does the name affect how we respond instantly to the character (think of Uriah Heep).
    1. Make a list of distinctive settings.
    1. Again, draw out from those settings the elements that make that it a suitable venue for a crime to take place.
    1. Make a list of crimes and briefly outline their method of execution.
    1. Marry the crime with a setting and a character and think about what theme your story might have.
    1. What’s your opening line?

  • Opening Evening of the New HWS Season – PD James

     PD James 2Barbara Large, HWS Chairman, opened the first evening of the new season by introducing Simon Eden, Chief Executive of Winchester City Council who described himself as a cross between Sir Humphrey in Yes, Prime Minister and a translator for politician and local people.  He then introduced PD James – Baroness James of Holland Park – who held the room for over an hour, without the use of any notes, on the craft of mystery writing.

    PD James told us that there is never a convenient time to write that first novel and what drove her personally was the thought of telling her grandchildren she would have liked to have been a writer but had failed.  She wrote Cover Her Facewhilst caring for a sick husband and bringing up two small children. She set her standards high and, enjoying the richness of the English language, continues to use all twelve volumes of her dictionary when she writes today.audience

    The audience’s appreciation of Lady James’s talk was heartfelt and deafening. There could have been no better start to the HWS’s second year.  Barbara Large gave Lady James a copy of Winchester, by Chris Caldicott, a photographic celebration of the city as a special thank you gift.

  • Gala Evening at Chawton House 12th June 2012

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    Report by Celia Livesey

    More than 70 members and guests attended the final meeting of the inaugural year of the Hampshire Writers’ Society and the Annual General Meeting at Chawton House Study Centre. The reception, which started with a picnic in the Old Kitchen at 6 pm, was followed by complimentary strawberries and cream. A fantastic turnout!

    Members then enjoyed a tour of the House, hosted by Director, Stephen Lawrence, and Lindsay Ashford, author and Deputy Head of PR. Mr Lawrence began his tour in the Library and explained some of the history. An Elizabethan manor house, Chawton was once home of Jane Austen’s brother, Edward Austen Knight. Now it is a library with a unique collection of books focusing on women’s writing in English from 1600 to 1830. Some of the older books are stored in an air-conditioned basement. Other highlights included the Dining room, Tapestry Gallery Staircase and the Great Hall. An interesting human touch that intrigued me, were the ‘witch marks’ scratched on the Tudor panelling by the fireplace to ward off evil spirits that might fly down the chimney. I’m glad I didn’t live back then!

    There was a buzz of excitement as everyone packed into The Great Hall for the AGM. The Director, Barbara Large, welcomed everyone and outlined all the successes of this inaugural year of the HWS. Special guests of the HWS throughout the year were mentioned, Professor Joy Carter, Vice Chancellor of the University of Winchester, Mark Courtice, Director, The Theatre Royal, Winchester, Stephen Boyce, Advisor on the Arts to Winchester City Council and the recent Mayor of Winchester, Councillor Lipscomb. The Treasurer was then called upon to give his report, followed by other members of the committee. Ant Ridgway called for a vote of thanks for Barbara Large for all her hard work. The meeting closed at 20:15.

    Book Cover - Mysterious Death of Miss Austen Lindsay AshfordLindsay began by telling the group how she got started as a writer. Her first novels,Frozen, The Killer Inside, Strange Blood, and Death Studies were based on real life experiences. Lindsay had the group literally gasping with horror and sympathy as she recounted true stories gleaned by going out with the local vice squad. One woman, an addict, filthy, drunken and tragic, had been brought to that terrible state because her child had been beaten to death by her pimp.Barbara Large then invited Lindsay Ashford to reveal how living at Chawton House has influenced her to switch from contemporary crime fiction to historical fiction involving real figures from the past in her book The Mysterious Death of Miss Austen.

    There was silence as Lindsay read an extract from her book. It conjured a lurid picture in the mind – a prostitute coerced into giving freebees to a policeman in his car. The bad breath in her face, the mess! It was squalid, gritty – too real to be comfortable. Yet, initially Lindsay got lots of rejections. She went on an Arvon Foundation Course for Crime Writing, and two years later she moved to Wales. There she met Janet Thomas, Hunno Press, who was looking for short stories. Lindsay ended up writing a novel in six weeks for Ottakers, which was subsumed byWaterstones.

    In 2008 she moved to the Chawton Estate, and became absorbed by the place. Going through Jane Austen’s manuscripts, Lindsay found a letter Jane had written to her friend, Fanny Knight. Alarm bells rang as details in the letter suggested arsenic poisoning. A lock of Jane’s hair, donated to the Trust, proved to contain traces of arsenic. This prompted the germ of an idea for Lindsay’s novel, The Mysterious Death of Miss Austen.

    Lindsay realised that to write this story her novel had to become more character-driven.Previous books had been plot-driven. The character of Fanny Knight, a governess, needed to be explored. She was neither part of the aristocracy nor part of those people who worked below-stairs. What would friendship and love cause one woman to do for another? What was it like to be that alone as a governess, and to find that your only friend, Jane, had died? Lindsay wondered how she would find her Historical Voice!

    In conclusion, Lindsay said ‘Whatever problems you encounter, believe in yourself and never give up. Accept constructive criticism and persevere’.

    Gary Farnell thanked Lindsay for her talk and took questions from the floor.

    Q ‘What should you do if an editor asks you to rewrite?’

    A ‘Editors do know the pitfalls; don’t question instead: rewrite. Sometimes you must distance yourself from your work.’

    Q ‘What do you mean by character-driven?’

    A ‘A strong character. I had to learn because I was plot-driven. Know the background of your characters. Character is everything.’

    Q ‘Is writing in the 1st person restricting?’

    A ‘Yes. There’s more freedom using the 3rd person.’

    Q ‘Were you intimidated by Jane Austen’s language?’

    A ‘I didn’t try to write in Jane Austen’s style. I used my own voice.’

    Q ‘Did you alter your view of men after you had spoken with the prostitutes?’

    A ‘I thought it was only a certain sort of man who wanted dangerous sex. And I was surprised that many men would pay more, despite the risk they were taking.’

    Q ‘Arsenic was used in face powder. Could Jane Austen have poisoned herself?’

    A ‘That is a possibility. Jane had rheumatism and may have used Fowler’s Solution, which contained arsenic. Arsenic was also in wallpaper and sweets.’

    Q ‘Where does your future lie, now, Crime or historical novels?’

    A ‘I would like to do both. But publishers like to ‘brand’ you. Some authors use a different name. But it becomes difficult if you have to deliver one novel a year.’

  • Tuesday, 8th May How to Find Your Writing Voice: Sophie King aka Janey Fraser aka Jane Bidder

    JaneBidderA report by Carole Hastings from the Hampshire Writers’ Society May 8th meeting

    Sophie King took us through the main session of how to create a voice that will have you stand out on the publisher’s pile. Sophie is a successful author who started her writing career under her name of Jane Bidder as a journalist and author of non fiction books for Orion. She has now published five contemporary novels and non fiction books under the name of Sophie King, a name deemed very marketable by her publishers. As Janey Fraser she has a new book called, The Playgroup.

    She shared a number of tips and exercises to help us develop our voice or voices:

    • Your first and last sentence are key – these are the two that will make the agent/editor read more …
    • Use photographs to inspire you – try out different scenarios – use them as stepping stones – do it daily
    • Set yourself challenges and meet new people – more book material to help you widen your experience
    • Try writing with a buddy to create a change in tone
    • Use a change of circumstances to help you find a new voice
    • Write in a different place, perhaps at a different time, perhaps with a change of hairstyle
    • Read what you normally don’t read to see if another genre might be for you
    • Write for five minutes each day without thinking – try subjects you’ve never thought of before
    • Think about your characters and their relationships before you start on your plot
    • Use your book framework as a guide and let the characters evolve
    • Revise your work before you move onto your next chapter
    • Make sure there’s an action point or element of conflict in each chapter and aim to keep them of similar lengths
    • Try out different narratives/viewpoints but avoid first person for anything other than a short story as it may become restrictive in a novel
    • Have more than one viewpoint in a novel but don’t muddle them
    • Make sure you have a balance of narrative and dialogue
    • Avoid writing two different books in two different voices at the same time – you’ll lose your voice …
    • Try your hand at competitions – Writing Magazine is a good read for all writers

    Check out Sophie’s website.

    Stephen Boyce, freelance heritage and arts consultant and published poet talked to us about the developments in Southampton and Winchester on the cultural scene. He’s Chair of Culture Southampton and gave us the heads up the the new arts complex, including studios and a theatre, being developed on Guildhall Square in the heart of Southampton. There will be a public performance on June 16 for those who want a taste of what’s to come. He then read a tender poem about his father photographing his young bride en route for their honeymoon.

    It was encouraging to hear from Hermione Wilds [Laake] that going to an English Literature session with Gary Farnell at the Winchester Writers’ Conference was the catalyst in moving her from aspiring writer to published author. Her book Bertha’s Journal is soon to be available on Amazon and from the publishers Strategic who are the joint publishing venture involved. The video link for Bertha’s Journal.

  • Speaker: Ali Sparkes Children’s Author: Why Did It Take 30 Years to Find out That I am an Author?

    Ali Sparkes didn’t know she was meant to be an author for about 30 years. How she got to be one is a tale of sequins, plops, lovelorn bats, juggling unicyclists, many props and much silliness. In a stirring, tempestuous session, Ali will share her many ups and even more downs… and show you fear in a handful of Tellytubby.  Ali Sparkes’ website.

    Review of Hampshire Writers’ Society Evening 10th April 2012 
    Report by Carole Hastings:

    It was a brilliant evening kicked off by Mark Courtice, the director of the Theatre Royal in Winchester. He told us that the theatre is soon to open its garden space so that theatre goers can have a bite whilst enjoying some new performance pieces. He will be commissioning some new works and is happy to hear from writers who would like to have their works aired at the theatre.

    Next up was the Hampshire Poet Laureate, Brian Evan-Jones who read his first commissioned poem on Lymington entitled “By Sea & Forest Enchanted.” He will read his second work as part of the Jubilee celebrations at Winchester Cathedral in June. He has plans to create a poetic map of Hampshire and is interested in hearing from groups who might like to contribute poems to an anthology or work with him on creating some new poems.

    Ali Sparkes held the floor with an exciting and engaging session on her progress from a six year old with poor reading skills – courtesy of experimental alphabet-free teaching – to a top children’s author. As a child she dreamt of being on stage and being a performer of some description but all the time she wrote adventures.

    Her journey started with family word games around the kitchen table, failed attempts at being accepted by acting schools, backstage work at musicals, a Bluecoat at Pontins [hoping for an Equity card], cabaret singer, journo then comedy writer for the Daily Echo, staffer for BBC Radio Solent, then a freelancer with pieces aired on Woman’s Hour and Home Truths. All this, whilst writing and pitching works to publishers.

    Ali was frank and funny about her rejections, her earliest as a teenager and others after monumental feats of writing – 60,000 words in a fortnight. She opted for getting an agent and signed up to the late Rosemary Canter at Peters Fraser & Dunlop. She landed Ali with a contract from Oxford University Press for a five part series of Shapeshifter a couple of weeks after the deal was signed.

    Ali was entertaining and inspiring – she is a success without any formal creative writing training or mentoring. She draws elements of her books from her family and advised us to always write the first draft of any book so that it entertains you first and foremost. Her latest book, Frozen in Time was inspired by The Famous Five, a childhood favourite.

  • Review of Hampshire Writers’ Society meeting 13th March 2012

    Rebecca Shaw, author of the Turnham Malpas/ Barleybridge village series, made creating, writing and marketing village sagas sound very easy. Such an inspiration. She didn’t believe in retiring after her children departed for university. She chose to be a writer!

    We are grateful to Carole Hastings, Publicity Chairman, for the following…

    Calum Kerr, lecturer in the Faculty of Arts at the University of Winchester, kicked off the evening by telling us about his ‘short story a day’ regime that he started May 1, 2011 and has continued every day since then. He was chosen for a Christmas Eve feature on Radio 4 and has organised the National Flash Fiction Day to take place on May 16 with events and various competitions happening across the country, including Southampton and Winchester. An anthology of the best work will be edited by Calum and Valerie O’Riordan.

    Rebecca Shaw, our Guest Speaker, started a creative writing class when her youngest child went off to university in 1992 to fill her free time. She wanted to focus on short stories but was advised that this was the domain of well known individuals, As a result, she wrote her first novel based on the imaginary village of Turnham Malpas and sent it off to six publishers. After five manuscripts were returned rejected…she was delighted when Orion offered her a three book deal. She hasn’t looked back. She has written 22 books in 20 years, the majority based on her village sagas, but three books have been based on a veterinary practice. Her two sons, who are vets, have provided the rich research and technical advice.
    Her advice to writers is to write when you are bursting with ideas, not necessarily every day. Then your writing will feels fresh. Don’t try to force yourself to write. She uses the time when she is not writing to observe and to store ideas and information in her brain. She believes that supermarkets are great places for people watching and advises “You must watch the world as it is.” When she started writing she avoided reading for two years so that she could develop her own voice.
    Rebecca’s success has proved that there are opportunities to become a published writer when you least expect it.

    For those of you who missed out on Calum’s Flash Fiction stories, his ebook 31 is now available for Kindle at:

  • Review of Meeting 10th January 2012 Speaker – Beverley Birch

    Those who were unable to join us for the January meeting of the Hampshire Writers’ Society missed an excellent talk given by Beverley Birch titled Between a Rock and Hard Place; Keeping Faith with Your Writing Self in Today’s Stormy Seas. Hopefully you will enjoy this resume of her realistic and supportive advice.

    As Senior Commissioning Editor of Hodder Children’s Books and author of more than 30 non-fiction books, most published by Egmont Publishing Company, she urged writers to strive for individuality, ‘Be passionate about what you are offering to editors and agents,’ was Beverley’s keynote message.

    Find your voice as an author. Choose wild, wacky settings that will catch the attention of editors. Make sure that you know who is telling the story, that your plot is well crafted with peaks and troughs that will sustain the interest of the young reader.’

    She explained the editorial process of selecting marketable children’s manuscripts and then having to justify them at Acquisition Meetings peopled by company accountants, rights teams, export advisors, design teams, bookseller representatives and publicists and described it as a ‘blood bath’. ‘Frequently,’ she said, ’this process denies children the pleasure of reading excellent imaginative books because the book business will not take the financial risk of promoting a new writer.’

    Editors are now looking for manuscripts that ‘ get you by the throat’ by page 3. Beverley explained that if the author has not ‘hooked’ the editor by page 5, that it was inevitable that the editor would read no further. ‘The editor needs to grasp where the plot is going by page five’. The marketing watchword is to ‘suck the reader into the story with alacrity’.

    To be published, books need to be buoyant, distinctive and quirky’. In her experience, Beverley explained that children learn by reading about other children’s lives; the good and the bad choices that they make and the consequences of these choices. She recommended both Anthony Horovitz and Robert Muchmore as authors who expose these themes.

    Self-publishing, e-books and print on demand were attractive alternatives to marketing new books to traditional but recalcitrant publishers. She commented that many writers now successfully market their books through their own websites or by using Amazon and Kindle opportunities.

    She reminded audiences that David Armand suffered 25 rejections before he became a publishing success.‘Don’t give up! Keep writing! Remember that the cycle of editors change. New editors come to the fore. They will look for fresh ideas Tuck away your rejected manuscripts for five years and start a new script’.

    HWS member, Celia Livesey said, ‘Beverley kept everyone enthralled by her energetic performance that described the parlous state of the publishing world yet encouraged everyone to continue with their writing’. Others spoke of her passion to support writers and valued the time she gave to answering a multitude of specific questions following her talk. One delegate declared to me that she was more determined than ever to get published.
    Barbara Large MBE

  • Three Poets at Work Peter Dixon, Dr.Tom Masters and Mark Rutter

    Review of 13th December Meeting of the Hampshire Writers’ Society

    Three Poets at Work

    Peter Dixon, Dr.Tom Masters and Mark Rutter

     

    HWS member, Celia Livesey has written about the evening:

    My husband and I were at the December meeting of the HWS featuring Three Poets at Work and we enjoyed a wonderful evening. In fact each meeting has been amazing and thoroughly enjoyable in a variety of ways.

    The first poet to speak was Peter Dixon. He kept everyone enthralled with an energetic performance encouraging us to write.

    ‘Write about anything,’ he urged. ‘It doesn’t matter if it’s trivia. You don’t have to write about nature or leaves – write about a cupboard or anything, but just write.’

    He went on to give a reading of the ‘Booster Boys’, a funny, yet poignant poem evoking memories of a time long past.

    Tom Masters was the next up to speak. At first, during his introduction, I didn’t think I was going to be able to follow or keep up with the many ideas and concepts that darted backwards and forwards through his agile mind.

    And then he started the reading. I was blown away. His performance was mesmerising. At the end I asked him if he had considered introducing stage performances of his work and he asked me if I knew of any actors. I can only say that I don’t know of any actor, who would be able to do more justice to this work, than the performance given by Tom Masters, himself. I would like to see a CD produced to be sold together with his book ‘Silence’.

    Mark Rutter completed the evening with readings from a selection of his poems, some finished and also some work in progress. Again, a wonderful performance using poetry to weave stories about feelings and places.

    What struck me most was that each poet appeared poles apart in style, performance and disposition. And yet there was a commonality between them. Each poet captured the poignancy of life and of the soul.

    Many thanks to HWS for all the hard work, it really is worth it. We are looking forward to the January meeting with Beverley Birch.
    Best wishes,

    Celia Livesey.

     

  • Jack Sheffield – Tuesday 8th November

    Dear Members of the Hampshire Writers’ Society,

    Another day cannot pass without sharing with you the highlights of the third meeting of the Hampshire Writers’ Society, at which Jack Sheffield spoke so informatively…so entertainingly about his Journey Toward Publication in his carefully prepared talkPaperback Writer. Please do share this with other writers who may be interested in joining us for the next meeting which featuresThree Poets at Work.

    ‘Jack, You Have Commercial Potential’ was a revelation to this aspiring novelist

    A cornucopia of talent took centre stage at the November 8 meeting of the Hampshire Writers’ Society.

    Special Guest, Councillor George Becket, Winchester City Council opened the evening with his praise for the Creative Industries that are forging a place in Winchester and the District and his confession that he would like to write his memoirs as a musician, nurseryman and a politician.

    The packed audience listened intently as Jack Sheffield, a retired Yorkshire headmaster and author of the bestselling

    Teacher, Teacher series of novels, described his new career as a novelist. His carefully prepared talk, Paperback Writer; The Journey towards Publication described his meeting with a literary agent at the 2005 Winchester Writers’ Conference who wanted to represent him to publishers.

    He explained the precision of his editing process and the auction of his manuscript among six mainstream publishers that resulted in Transworld Publishers offering him a contract for his first four novels Teacher, Teacher; Mister Teacher; Dear Teacher and Village Teacher, under the Corgi imprint. These were the Waterstone’s Books of the Year for 2007, 2008, 2009, and 2010. He explained the publisher’s commercial need to change the name of his fifth novel, Please Sir, which was published this year. When his publishers declared: ‘Jack, you are a brand’ it was a revelation to him. He though he was just a writer.

    He cautioned ’never set your wit against a child’ a proverb attributed to the 18th century essayist, Jonathan Swift and he illustrated this with a child’s observation that ‘ a new born baby can’t talk, it just thinks all day’ Another child wistfully answered, ‘Christian have only one wife…it’s called monotony.’

    He advised writers to write about what they know best. He displayed his diaries which he kept as a schoolmaster and from which he has drawn a rich seam of village school life. ‘Listen for natural dialogue and the cadence of the language and write them down. Otherwise, they vanish’.

    He described being rescued from a car accident by the a police officer ‘who looked all of 15’. He fastened a protective leather collar around Jack’s neck so tightly, that I couldn’t identify myself nor could I reach for my wallet tucked in my pocket. He pointed and croaked ‘Wallet’ to indicate where his identity papers were located. However the officer thought it was his name. ‘Don’t worry, Wally,’ he said cheerfully, we’ll soon have you right’. He captured the precise dialogue of that car crash episode in one of his novels.

    ‘Do intensive research, look for a niche in the market and aim for it.’ His talk, interspersed with hilarious observations, was packed with sound advice on developing three dimensional characters, villains as well as ‘good guys’ and creating believable settings.

    Mr Bevis Hillier, author of the magnificent three volume biography of John Betjeman, Poet Laureate, adjudicated the writing competition ‘My Favourite School Memory’ and asked the winning writers, Celia Livesey 1st, Hermione Wilds 2nd, Helen Adlam 3rd, Susan Piper 4th, Pat Kerley 5th, Hilary Gregory 6th, Marion Dante 7th, to read their 50 word submissions, which we are including below. Transworld Publishers presented some of Jack’s books as the first, second and third prizes, of course!

    I hope you enjoyed this meeting as much as I did. Do remember that the Hampshire Writers’ Society meeting on Tuesday, 13 December, 7:30 pm will be held in our new venue, the Lecture Room, upstairs in The Stripe Building. The programme, Three Poets at Work, will include Mark Rutter, Peter Dixon and Tom Masters, a fantastic trio. December’s competition: Write new words for a traditional Christmas carol.

    Free parking will be available in the Dytche behind The Stripe and also on the Burma Road, which faces the Main Reception. Take the lift in the Student Union building, (part of Reception Office) down to Level One and walk across the tarmac to The Stripe. It will be easy.

    I look forward to welcoming you and more new members and visitors then.

    Barbara Large MBE

    Chairman, Hampshire Writers’ Society

  • Simon Hall – 11th October 2011

    Following Simon Hall’s amusing talk,Writing Crime, Reporting Crime last evening at the University of Winchester, our Steering Committee thought you would like to have the following record of his advice for writing marketable crime fiction.

    Simon Hall Advised Writers ‘ To Keep the Faith’

    Simon Hall ‘s talk Writing Crime, Reporting Crime not only informed but entertained a capacity crowd of writers at the University of Winchester on Tuesday evening, 11 October at the second meeting of the Hampshire Writers’ Society.

    His direct discussion of the techniques of crime writing informed writers how to use a strong protagonist to help solve the crime, the subtext to Simon’s tvdetective novels.. He demonstrated how Ben, his protagonist, as a tv reporter, is a mixture of highs and lows but that he is believable and memorable. His dog, Rutherford, adds another dimension to this character.

    He reminded the audience how he uses his notebook to record the quirks that bring characters to life. He described a lady in a pub who rattled her empty glass as a signal to her obedient husband to return to the bar to replenish her drink and then nibbled food from her husband’s plate when he had left the table. ‘A character to weave into my plotline’.

    As the BBC crime correspondent for the south east, he often works with the police to report crimes ‘These are often searing experiences’. He recalled being asked to report on the terrorist suicide attacks in London in 2005, to seeing the terror on the faces of total strangers as he approached the railways stations and his shock to see a police traffic sign with the words ‘Avoid London: Area Closed’!

    He urged writers to be guided by their principles, that this leads to the ‘voice on the page’ and also to develop a relationship with the reader, to invest in their research and to provide all of the clues that are need to solve the crime satisfactorily. Aim for a plot with a series of twists and turns. ‘Readers want value for money…so do publishers’.

    During question time he admitted that he writes ’nice crime: no difficult science, nor swearing, …which is an excuse for proper vocabulary, no gore but instead a worthy plot and no sex!

    Settings are important as an angle on which to base a novel. He reminded listeners of Morse’s use of the city of Oxford and the multiple settings used by John Le Carre. Periods of history, travel, journeys, even personal tragedies are good starting points. ‘Humour takes us through tragedy’.

    Simon Hall’s conclusion was that being a writer is not a God-given art…it takes much research, writing, editing and revision before you convince that commissioning editor and publisher. . We have the talent but it is important to work at it. ’Keep the Faith’!

    We also remind you that Jack Sheffield, author of the Teacher Teacher series published by Transworld will give the next talk, Paperback Writer -The Journey Toward Publication on Tuesday , November 8th 7:30 pm, University of Winchester. We can promise you another hugely enjoyable and highly hilarious evening of advice and entertainment. Do come and bring your writer-friends. We want this society to be packed with talented writers.

    With all good wishes for your writing success,
    Barbara

    PS You may like to take a look at Simon Hall’s blog about the event last night.