Writers'Narrative eMagazine January/February 2024 Issue

1

Featured Interview with Author Nancy Naigle

Find us at

writersnarrative@gmail.com

New Beginnings Writing Romance Where Romance and Horror meet And so much more ...

https://www.facebook.com/WritersNarrative

https://www.instagram.com/writersnarrative/

https://twitter.com/WritersNarrativ

Sign up for our monthly newsletter subscribepage.io/WritersNarrative

Writers’ Narrative is published monthly by Scott and Lawson Publishing. Graphic Design by Sheena Macleod. All contents Copyright © the individual authors and used with their permission. All rights reserved.

2

38 February: The Month of Love

by Lis McDermott

Welcome to the January/February 2024 Issue Letters to the Editor

Monthly Writing Prompts 18 Writing Prompts: January

by Wendy H. Jones and Tami. C. Brown

6 Nancy Naigle Interviewed by Wendy H. Jones

44 Writing Prompts: February

by Wendy H. Jones and Tami. C. Brown

10 Christmas in Evergreen by Nancy Naigle Reviewed by Wendy H. Jones.

11 And Then There Was You by Nancy Naigle Reviewed by Wendy H. Jones

33 City Writers

by Wendy H. Jones

25 Feeling ‘Blah’? By Tanith Carey Reviewed by Louise Cannon 32 Recent Releases

37 Lochee Library

by Pauline Tait

12 Dark Kisses: Where Romance and Horror Meet

by Vonnie Winslow Crist

22 Writing the Shadow by Joanna Penn Reviewed by Wendy H. Jones

14 New Beginnings for Characters

by Allison Symes

24 Writing the Cozy Mystery by Nancy J. Cohen Reviewed by Sheena Macleod

20 How Editing is Like Starting Your Book Over Again

by Jeanette the Writer 30 Books are Magic, Brooklyn, New York

26 Writing Like Hemingway

by John Greeves

31 Hatchards, London

by Wendy H. Jones

34 Beginnings

by Jenny Sanders 40 Flash Fiction Romance: Is it possible?

by Allison Symes 42 When Sheer Imagination Isn't Enough

by Maressa Mortimer

46 January: The Most Traumatic New Beginning

by Peter Thomas and Sophie

48 How To Write: Part 1

by Megan Appleton

50 February: How to Celebrate Valentine’s Day

by Peter Thomas and Sophie

52 Spring into Action: Writing Nature

by Linda Brown

Write in Time 21 Louisa May Alcott (1832-1888)

54 A New Insight Heralds A Fresh Start

by SC Skillman

56 Submission Guidelines 16 January: Happy New Year

by Lis McDermott

3

EDITORIAL TEAM Wendy H. Jones - Editor in Chief - is also our Executive Commissioning and Features Editor. She is the multi-award-winning, best-selling author of adult crime thrillers and cozy mysteries, children’s picture books and non-fiction books for writers. In addition, she is a writing coach, partner in Auscot Publishing and Retreats and hosts the Writing and Marketing Show podcast.

Editor in Chief

Sheena Macleod is our Deputy to the Editor in Chief.

She oversees the day-to-day production and design.

She is author of the historical fiction novels, Reign of the Marionettes and Tears of Strathnaver, and co-author of the nonfiction book So, You Say I Can’t Vote! Frances Connelly.

Deputy to The Editor in Chief

Pauline Tait manages our submissions. Pauline is a prolific novelist, children’s author and writing mentor.

She writes both suspenseful romance and children’s picture books for 3 to 7 years.

Submission Manager

Allison Symes is our Copy Editor. She is an award winning, published flash fiction and short story writer.

She also writes a weekly column on topics of interest for writers for online magazine, Chandler's Ford Today.

Copy Editor

Susan McVey is our Content Editor. Susan writes dystopian fiction and fantasy narratives, tailored for the young adult and teenage audience. She publishes under Marti M. McNair. Her works include Island of Ruin (Ruin or Redemption Book 1).

Maressa Mortimer oversees our marketing and our social media engagement. Maressa is author of the Elabi Chronicles, Burrowed and Sapphire Beach.

4

Content Editor

Marketing and Promotions Manager

We are delighted to be interviewing bestselling novelist Nancy Naigle of Christmas in Evergreen Hallmark Movie fame.

I hope you enjoy this issue as much as I enjoyed bringing it to completion. I wish you the best for the year ahead – may your head be stuffed with ideas and your writing pen never dry up.

Wendy H. Jones Editor in Chief

W

elcome to the bumper January/ February issue of the magazine and a very Happy New Year to you. The team at Writers’ Narrative are back, refreshed, from their break and ready to support you in your writing and publishing endeavours in the year ahead.

We hope January is going well for you so far and you are ready to embrace February and move your writing forward. We are, of course, looking at both new beginnings and romance writing, which go beautifully together.

This issue is stuffed full of articles on both, so no need to struggle – we have you covered. Of course, we also have our routine features – from the desk of our office dog. Library of the month, bookshop of the month and so much more.

Wendy H. Jones Author, Publisher, Writing Coach

5

Featured Author Interview - Nancy Naigle Interviewed by Wendy H. Jones This month’s featured author is bestselling romance and mystery novelist, Nancy Naigle of Christmas in Evergreen Hallmark Movie fame.

Nancy, thank you for joining us here at Writers’ Narrative. We are delighted to have you as our featured author for the magazine. We are looking forward to getting to know you better and to learning from you.

A nice easy one to start with, can you tell us a bit about yourself and what you write?

Nancy Naigle

I’m a native of Virginia and have spent most of my life in the Tidewater area. I write uplifting small town love stories.

Romance is the most widely read genre worldwide. Why do you think it is so popular?

I’m curious, you write a mixture of romance and romantic mysteries – why both?

Well, I’m a huge romance reader, so I’m more than just a wee bit biased, however, in my opinion, relatable characters overcoming obstacles makes us feel good, and reenergizes the hope in our hearts.

Most of my work is contemporary small town romance or southern women’s fiction, but you’re right, I’ve snuck in some mysteries along the way.

The Seasoned Southern Sleuth Cozy Mysteries were co-written with Kelsey Browning. They are such a hoot. 4 girlfriends, all over 50 and from the south. We like to compare it to a Golden Girls version of Dirty Harry!

What advice would you give to anyone who wanted to start out writing romance?

I’d first say that if you don’t read and enjoy the genre, don’t write aLisa romance thinking it willWest be Turley is from easier to get published because it’s so popular.

Virginia. She is on numerous ARC street teams and You have to be authentic in your story.

The most reads in multiple genres. important advice is to sit down and write the SheSoismany passionate about book. The whole thing! aspiring writers helping authors get the edit and re-edit those first few chapters to death word out about their books. and never make it to the end of the book. They poop out about midway through. Finishing the book is the first big step. You can always go back

I also had a neat project with Guideposts last year. Love’s A Mystery in Burnt Chimney that’s connected stories, one from the past and one current time which is the one I wrote.

Mysteries are a fun departure, but no matter the genre, you’ll get the same vibe from my stories that showcase family, friendships and community.

6

and fix plot holes, shine the words, and spiff things up, but you can’t fix a blank page. You also can’t sell an unfinished book. So, get writing, find your process, and prepare to edit later.

Characterisation is obviously a major part of your books, as without the reader identifying with the characters the romance genre falls apart. What advice would you give regarding writing authentic characters in a romance?

Setting seems to be an important part of your writing. How do you choose the setting and how do you weave it naturally into your stories?

I think internal thoughts and point of view really help build out a character and make them feel three dimensional. As a reader myself, I like it when I learn a little more about the character through his actions, just like you would a new friend.

To me, setting is another character. We are impacted, persuaded and charmed by the external components around us. The weather, beauty, sounds and neighbors all impact the characters in the story. I have to be able to imagine my setting like a real place. I immerse myself in it, getting a feel for it before I ever start writing. I prefer fictional towns, but my next release The Law of Attraction is actually set in the city of Richmond, VA. My hope is to show readers that you can still get a small town vibe in the middle of a bustling city. I can’t wait to see if you think I pulled it off.

Either way you won’t be able to resist our handsome mural painting artist and his crazy meetcute with the attorney.

Let’s find out a bit more about you. How did you come to writing?

I’d always been a voracious reader. When I was in elementary school we lived just a block away from the library. All summer long, the librarians cut circles out of colored construction paper and as we checked out and returned books, we’d get to write our name and the title of the book we’d read on one. I loved adding to that big colorful caterpillar above the stacks. I attribute my creativity to my young mind going in so many directions in the various books I read as a kid.

What advice would you give anyone who wants to give an authentic sense of setting?

What does a writing day look like for you? I love writing sprints. It’s amazing how much I can get done in a short twenty minutes.

Draw from your experiences. Visit places similar to what you want to write, and then use all of your senses to become aware of the very heartbeat of it.

I don’t have a set schedule, and I don’t force myself to write every single day.

You see one of the things about writing that it takes folks a while to realize is, there is no one process for writing. You have to find your own.

For me, I still use my corporate skills to plot and plan my work. That structure gives me all the parameters of how long it will take me to complete the project. Knowing that allows me a certain amount of flexibility to play hooky occasionally to explore new things or do something fun when the opportunity presents itself. That helps me continue to come up with new ideas.

Up until recently I’ve lived on properties with acerage and not many neighbors. In my recent move I decided to live right in the middle of a small town, around the corner of Main Street in walking distance to restaurants, church and the post office. It’s so different. The church bells ring every day, neighbors say hello, the mail stills get delivered on foot, and even though cars are going down the street there’s a peacefulness about it that is new and exciting. You can bet I’ll have a bustling small town like this one in a future series.

I always outline each scene with a sentence or 7

two at the start of a new novel. After that, I rarely work from beginning to end. I let my moods drive which scenes I’ll spend my time on. When I wake up feeling a little low, I will work on a somber scene. When I’m busting at the seems with energy I’ll look for high-energy ones. Being in the mood to write the scene makes the work go so much easier, and faster! That’s always a bonus.

of story. I lost a cousin a few weeks later. I knew then that I wanted to change my life. Feeling vulnerable to the reality that our life can change at any time, I took an early retirement and focused on writing full time to spread joy through words. It was a huge change, but I’ve been writing for a living ever since. I was blessed with a couple of my novels being turned into Hallmark movies and things started to really feel right. It’s hard to believe it’s already been ten years.

Oh, and I do my best writing when everything is quiet.

One cannot avoid the fact that many of your books have Hallmark Movie tie in. How did this come about?

Would you mind me asking about your route to publication?

Squeee…a dream come true! This is stranger than the route to writing. I used to love watching the Hallmark Hall of Fame movies when I was a little girl. There was no Hallmark Channel back then. Hallmark used to have these long emotional commercials. Tear-jerkers. I loved them all.

It was a strange set of circumstances actually. I never dreamed of writing as a career. I worked in the corporate world, a Senior Vice President with Bank of America. The year I turned forty, and my job included offshoring technology positions and that left me feeling a little sad. I wanted to do something joyful to balance the scales.

The year after my husband passed away my agent came to me and said her favorite editor was looking for a sweet small town Christmas story. I had just written my first Christmas book.

In fact, it was Christmas and we hadn’t even started to edit that book coming out the following Christmas. I was giving shout-outs about a new Hallmark movie called The Christmas Note on Twitter and gathering friends to do a watch party. I received a direct message from The Christmas Note twitter account thanking me for building buzz.

Books always got me through tough times, and I thought if I could write one book to help one girl through one bad day…that would be really be fun for me and hopefully bring joy to someone else. So, that’s what I set out to do.

It took me a long time, but I finally got that first book published in 2011. Sweet Tea and Secrets kicked off a six book series of romantic mysteries set in the small town of Adams Grove. I was still working my corporate job and writing on flights, in hotels while on business and my vacation time. I had eight books out by the time my life took a devastating unexpected turn. My husband was diagnosed with stage IV lung cancer in October of 2013. He fought a difficult short battle, and I lost him at the end of January 2014. I didn’t realize until then that God had been preparing me for that time. He’d armed with the gift

A week later they sent me a note saying they hadn’t realized I was an author and maybe some day one of my novels would become a movie. I responded with a simple, “A girl can dream.”

Well, a couple weeks later my agent heard from Crown Media asking to see Christmas Joy which later became my first movie with Hallmark. Following that was Hope at Christmas, Sand Dollar Cove and The Secret Ingredient.

8

What are you writing now and where can the readers find out more about you and your books?

Hallmark also presented me with a unique opportunity, writing the books for their new Evergreen series. I wrote the first three Christmas in Evergreen books. I love those movies. It was so much fun.

I’ve got several projects in the hopper. In order of release:

When I wrote The Shell Collector, it was the book of my heart, but it was bigger than a Hallmark story. I was so honored to have Fox option that book to be their first Fox Original Movie to stream on Fox Nation.

The Law of Attraction, will be out this May with Harpeth Road Press. The cover reveal is coming soon. I can’t wait to share it with y’all!

Is there anything that you, as the author, are expected to do when your books are televised?

On October 4th, the second Chestnut Ridge book comes out. Book 1 was And Then There Was You. Book 2 is Christmas in Chestnut Ridge, and I just know that readers are going to love spending the holidays there. It’s got all the warm and fuzzies.

That’s a great question. No, once I sign a contract that’s pretty much the end of my required participation. I do, however, love doing watch parties and talking to readers about the differences in the story in the movies. There’s no way to fit an entire book into a movie. Basically, they are taking an 88,000 word novel and shrinking it down into a 20,000 word screenplay. Also, a lot of things that are magic in a book, like internal thoughts, just don’t translate to the screen. So, some things get left out and changed to fit the television format and time slot.

For Waterbrook Press/Penguin Random House, I’m currently working on a follow-up book to The Shell Collector. You might remember that’s the book of my heart. If you’ve read the book, or seen the movie, I think you’re going be as excited as I am that Tug’s story is next. He deserves love!

I’d pitched this story as Angel By The Sea, but I think we’re leaning toward retitling it The Light To Move Forward. It’s a magnificent beach read.

Keep this one on your radar for 2025.

Everything you want to know is on my website at www.nancynaigle.com and readers who sign up for my newsletter there will get all the scoop first. I hope you’ll sign up!

What would be your top take way for anyone reading this article?

I hope anyone reading this is interested in picking up one of my stories, and taking a little time for themselves. Our lives are so stressful. We’re all working at a crazy pace. Life balance is so important, and reading can be a wonderful way to make a difference. We need to slow down in order to maintain good health and be strong enough to deal with the daily problems that come our way. I’d love to be a part of their downtime.

Thank you once again for taking the time to share your advice. It is much appreciated. We at Writers Narrative wish you all the best with your writing and look forward to future books.

Absolutely my pleasure.

Thank you!

Nancy

9

Christmas In Evergreen by Nancy Naigle Reviewed by Wendy H. Jones

A snowy small town. A snow globe that grants wishes. A love that’s meant to be.

Evergreen, Vermont is about to be in the rearview mirror of Allie Shaw’s vintage red pickup truck. It’s hard to say goodbye to her small town and her veterinarian practice, but she’s moving to Washington D.C., where her big-city-loving boyfriend lives.

Ever since Ryan Bellamy’s wife died, he hardly knows how to celebrate Christmas. He’s decided to take his daughter Zoe to Florida, and Evergreen is just a quick stop on the way to the airport. While they’re there, Zoe partakes in a local tradition, making a Christmas wish on the snow globe at the town diner. But neither Allie’s nor Ryan’s Christmas goes as planned. They’ve checked their wish lists twice, and they didn’t say anything about meeting someone new…or about a fresh chance at love.

This magical, feel-good romance includes a free Hallmark recipe for Vermont Christmas Card Cookies.

Okay, guilty secret time, I love Christmas movies. Yes, it’s out there. I also love Christmas books. For a crime writer this seems somewhat strange but, hey, we are all multi-faceted.

This series of books is based on the movie and I wanted to know if the book lived up the evergreen movie I know and love. The answer is a categorical, yes. It has everything a Christmas romance needs – small town, snow, two people who don’t know they are looking for love, and, of course, a child who brings them together. Nancy Naigle draws all these strands together beautifully into a well-paced, enjoyable book with bucket loads of the feel-good factor.

This is the perfect book to read when curled up on the sofa under a fleecy blanket whilst drinking hot cocoa. It ticks every single box for a feel good, Christmas romance.

Nancy Naigle has done the movie proud.

10

And Then There Was You by Nancy Naigle Reviewed by Wendy H. Jones

Blurb During the coziness of sweater weather in the mountains of Virginia two people find love against all odds in USA Today bestselling author Nancy Naigle's And Then There Was You. Reeling after falling prey to a Romeo con-artist who just waltzed away with the better part of her belongings, Natalie Maynard works closely with the detective assigned to her case, only the few leads have led nowhere.

Detective Randy Fellowes can’t promise Natalie restitution, but he’s determined to find the culprit and serve up justice. Married to his work, he’s caught off guard when Natalie has his thoughts wandering to more than the case. Natalie soon seeks refuge in the one thing she still owns — an old fishing cabin in the mountains of Chestnut Ridge. She quickly falls in love with the town and the eccentric people who are teaching her so much about the area and its heritage.

Through these people, and the determination of Detective Fellowes, she rediscovers her courage, self, and a reason to risk love again.

Review This is a sweet romance with elements of suspense and would suit lovers of both. I have to admit to liking romantic suspense, and Nancy Naigle novels, so this one was a definite treat.

As with all Naigle’s books, this one is extremely well written. The characters are well drawn, and I could picture them perfectly and feel their heartache and their joy. Of course, like most romances, characterisation is a large part of this novel, but this is not at the expense of either plot or setting, both of which sparkle. Having been to Virginia, I can tell you the setting is spot on.

I was genuinely rooting for the main characters and following their story closely. I was literally, and I mean literally, urging the police to catch the villain. It is safe to say I was caught up in this story at all times and can guarantee it will be loved by all lovers of romantic suspense.

11

Dark Kisses: Where Romance and Horror Meet

Award-winning author Vonnie Winslow Crist discusses the appeal of paranormal romance and why the linking of romance and horror can work so well.

T

he genres of Romance and Horror seem strange bedfellows, but they often go hand-in-hand.

Vonnie Winslow Crist

Whether sweet or steamy, romance fiction frequently follows the same basic plot: Girl and boy meet and, after a bit, fall in love. Something or someone tears the couple apart. All hope seems gone, but they manage to knock down the barriers to their love. The couple reunites and lives happily ever after.

often minimized in children’s stories, it is still there.

“Cross-species love affairs, helped along with a pinch of magic, are at the heart of many paranormal romances.”

In horror fiction, the narrative is designed to frighten the reader while still entertaining them.

Plus, horror often has supernatural elements.

Which leads us to one of the most popular collisions of romance and horror: Paranormal Romance.

Paranormal romance accounts for some of the most popular middle grade and young adult books of the last few years. The Twilight series of novels by Stephenie Meyer features a complicated love story where a human girl is wooed by a vampire and werewolf. The Descendants books

by Melissa de la Cruz and the related movies are built around a number of cross-species couples including human Prince Ben and dragonchangeling, Mal.

Cross-species love affairs, helped along with a pinch of magic, are at the heart of many paranormal romances. From childhood, we read stories where romance and horror intersect. In Beauty and the Beast, our couple is a girl and a beast. In The Frog Prince, the boy is an amphibian.

“Paranormal romance accounts for some of the most popular middle grade and young adult books of the last few years.”

There are other folktales and fairy tales where the boy is human and the girl is a monkey, mermaid, or swan. Although the scary aspect is

Lest we think paranormal romances are only for younger readers, The All Souls series by Deborah 12

Harkness sets up a fascinating tangle of humans, witches, vampires, and demons. The romance at the core of Harkness’s books is between a vampire, Matthew Clairmont, and a young scholar, Diana Bishop. Even Bram Stoker’s 1897 novel, Dracula, while most decidedly a horror story, could nonetheless be considered a paranormal romance.

the falling action, and finally to the story’s resolution.

“The author needs to select the level of romance and horror to weave into the narrative.”

Writers should remember all love stories don’t end happily. Beauty and the Beast could easily have been a tragedy if Beauty hadn’t made it back in time to save the Beast. Then, what would have happened next? The answer might be the beginning of your paranormal romance.

The list of paranormal romances is long, but the genre can always use new authors with fresh ideas. Rather than jump into a book-length piece of fiction where horror and love mingle, writers who would like to try their hand at creating a paranormal romance might want to start with a short story.

So, when celebrating tales of romance, let’s not forget supernatural love stories. The dark kisses, midnight meetings, and tantalizing duality of paranormal romance owes its tone and magic to horror.

“Writers who would like to try their hand at creating a paranormal romance might want to start with a short story.”

Vonnie Winslow Crist, MS Professional Writing, is the award-winning author of Shivers, Scares, and Goosebumps; Beneath Raven’s Wing; The Enchanted Dagger; Dragon Rain; Owl Light; The Greener Forest; and other books. Over 200 of her short stories have been published. Believing the world is still filled with mystery, miracles, and magic, she strives to celebrate the power of myth in her Young Adult-friendly stories, poems, and illustrations. https://www.vonniewinslowcrist.com

Short stories are fiction narratives of anywhere from a few sentences to about 7,000 words.

They take much less time to write than a novel, but use the same process. A piece of short fiction needs a main character and problem. In the case of a paranormal romance, the main character also needs a love interest. Plus, one member of the couple should be a vampire, were-beast, ghost, witch, fairy, demon, selkie, ancient god or goddess, or other supernatural entity.

Subscriber News

Second, the author needs to select the level of romance and horror to weave into the narrative.

The age of the audience will determine the heat of the romance and the darkness of the horror. A reminder—graphic details should be reserved for adult readers. A warning—only a select group of publishers will print graphic stories.

Never miss an issue of Writers’ Narrative

Sign up for our newsletters

Next, the author must construct a story arc (or plot) which carries the main character and their partner from the beginning of the narrative, through the rising action, to the climax, through

subscribepage.io/WritersNarrative

13

New Beginnings For Characters Allison Symes looks at the importance of strong beginnings for your stories but also why it matters to ensure your readers care about the outcome of your new beginnings for your characters.

C

haracters will face new beginnings all the time because their creators put them into new situations to handle.

Those characters will change, for better or for worse, as a result of how well or otherwise they tackle these. What is certain is their lives will not be the same again.

Allison Symes My beginnings then mean starting with the characters. I also work out at what point in the characters’ lives my readers will meet them. It will be at some point of change and there must be consequences because of that change (otherwise there is no point to it).

Fiction is dependent on cause and consequence, conflict and resolution, and characters should change as a result of what they have been through. It is up to the writer whether it is a positive change or not.

“My beginnings then mean starting with the characters.”

In my story George Changes His Mind, my beginning reads George refused to kill the dragon. Not this one. Not after last time.

I need to know my character reasonably well before I attempt to write their stories up. I need a way in so use a simple template to help me work out what I need to know about my character. Most of it does not end up in the story. It’s just for me but with that knowledge behind me, I know I can portray my character well and show my readers what they need to know and no more.

My beginning is at a point of change and something must happen because George refused to do something expected from him. Naturally I hope that hook encourages people to read on to find out what happens, but there has to be a good beginning to make them want to read on at all.

So getting the beginning right is crucial. Often I write my draft and then on revisiting my story realise my initial first line could be strengthened Lisawould Turley is afrom or a line further down make betterWest openVirginia.

She is on numering. I do what I have to do to make sure my beginstreet and ning is as powerfulous as it ARC can be.

I wantteams to make an reads in multiple genres. impact on readers immediately.

She is passionate about

“I need to know my character reasonably well before I attempt to write their stories.”

From knowing my character well enough, I get ideas as to the situations they would be likely to be in. If I know my character has a short temper, I may put them in a situation where they must control that temper. That could end up being a funny story or even a crime one where keeping their temper would make the difference as to whether they survive or not.

helping authors get the What matters initially is getting something down. word out about their books.

Once I have that something, I can improve it. But as someone said, you can’t edit a blank page. I do need time away from my first draft though to give 14

me enough distance to judge my story objectively. For a short story or flash fiction piece, a few days are enough. I do then see the story with fresh eyes. Then I can see if my beginning is strong enough.

dragons. They would have to be sent out!).

So the situation is set out in the first line. The other two lines show something of George’s history. We know he can kill dragons thanks to the not this one line.

‘I need time away… to judge my story objectively…. Then see if my beginning is strong enough or not.’

Give some thought as to what you would want to read in a beginning. This is where reading widely helps writers. You do take in from other writers, past and present, more than you might think.

You can work out what it is about their beginnings you like and dislike.

Tips for Creating Powerful Beginnings to Your Story If there is one big “secret”, it is to ensure your beginning intrigues. The first person it must intrigue is you. You are your own first reader. If you’re not gripped by the opening line, nobody else will be.

Then it is down to you to create your beginnings but you will go into this with ideas as to the approaches you like. That gives you a good start to creating your story.

Knowing what you like in beginnings from stories you love can help you shape your own.

Knowing what you dislike can be useful too as it means you won’t do that. I don’t like wordy beginnings. I do like to meet the major character straightaway. So I don’t write wordy beginnings, I do get you to meet my characters immediately.

“Think in terms of the three Cs - character, circumstance, change.”

There is no such thing as a perfect beginning.

What we aim for is the best beginning we can create at the stage of the writing journey we are at but I have found it useful to think in terms of the three Cs - character, circumstance, change.

Intrigue can be simple. It’s a question of provoking curiosity in a reader, the “must find out what happens here” moment. There is only one way to find out - they must read your story. The beginning of your story has done its job if you achieve that.

Another great way to begin a story is with a question. Readers will know by the end of the tale that question must be answered (else there’s no point in having that question). You also have a story structure in place. Questions will indicate a point of change is coming for your character because they will have to answer it. What readers will then want to find out is how but your superb beginning will make them want to do that.

“Ensure your beginning intrigues.”

An opening which shows the character, a hint as to likely setting, and the situation the character faces is a great way to intrigue. Is that a lot to do in the first line or two? Yes.

Allison Symes is a flash fiction/short story writer, blogger and editor based in Hampshire. She runs writing workshops, judges competitions, and writes weekly for writers for Chandler’s Ford Today. She has two flash fiction collections published (Chapeltown Books) with a third in the pipeline.

But given my example above, I’ve shown you the character refusing to do something, the presence of the dragon indicates this is a fantasy story, and something has to happen because good old George refused to obey his commission. (I refuse to believe anyone would volunteer to kill 15

January: Happy New Year!

Lis McDermott discusses the Zanze verse form in relation to the construction of her poem ‘Happy New Year’.

T

Lis McDermott

he Zanze is a verse form with variable syllabic patterns. The form was introduced by Walden Greenwell; however, I can’t find anything about him, just this form.

You also have to find words which work well with the end rhymes of the overall rhyming pattern of the poem.

A poem in 16 lines made up of 4 quatrains.

Syllabic: 8-8-8-8 6-6-6-6 4-4-4-4 2-4-68 syllables per line.

Rhymed: A-b-a-b c-d-c-d e-f-e-f

g-a-g-A

2.

L1 is repeated as L16,

I originally wrote: New year is here, embrace the time

L5 is the repetition of first 6 syllables of L1, L9 is the repetition of first 4 syllables of L1

But that had to change it because, year and here rhymed, and would have created difficulties in the rhyming pattern later in the poem. Also, I had to change the word, time to day, because there are fewer words that rhyme well with time that worked for me with this subject.

L13 is the repetition of the first 2 syllables of L1.

This isn’t an easy form to write in, and can become a little stilted, depending on your subject.

Plus, there is the added difficulty of the first line, losing syllables, each time it is repeated throughout the poem, also, retaining the rhyming pattern.

Therefore, I ended up with:

1. Carefully choose the words for your line A, remembering the phrase has to work being cut down into 6, 4 and 2 syllables. This has to be chosen well, otherwise you end up cutting words mid syllable, for example if you wrote:

New year arrives, embrace the day.

3. Next, I wrote out the pattern to remind myself where the rhymes fit, and how many syllables I needed for each line. And of course, I can check if the main repeated line of A works out in the other stanzas.

New year is coming with new cheer - you would end up cutting the word coming into two, for the 4 syllable stanza. E.g. New year is com 16

appear even more times, as it appears in the repeated line, A.

8A New year arrives, embrace the day.

8b 8a 8b

Next, I changed the beginnings of the last two lines of the first stanza, because I wanted more interesting words.

6c New year arrives, embrace 6d 6c 6d

I altered the first word of the 3rd line of the second stanza, because although I was thinking of the past, I actually hadn’t made that clear.

4e new year arrives 4f 4e 4f

The finished poem: New year arrives, embrace the day.

2g New Year.

2a 2g A New year arrives, embrace the day.

Out with the old, in with the new, Adjust your plans with no delay, Present life with a fresher view.

I knew I needed 2 rhyming words for the majority of the end rhymes, plus three for the A end rhyme.

New year arrives, embrace the start of a new chance;

Past failures you erase,

4. This is the first version I ended up with:

Stand strong in your new stance.

8A New year arrives, embrace the day.

8b Out with the old, in with the new, 8a time for new plans to show the way, 8b giving your life a fresh view.

New year arrives and from the start we take deep dives

6c New year arrives, embrace 6d the start of a new chance 6c. where failures you erase, 6d stand strong in your new stance.

with open hearts.

New Year.

4e New year arrives 4f and from the start 4e we take deep dives 4f with open hearts.

2g New Year.

2a Allay 2g your fear.

A New year arrives, embrace the day.

Allay your fear.

New year arrives, embrace the day.

Happy New Year!

Lis McDermott is a multi-genre author, poet and writing mentor. Visit Lis’ website: https://lismcdermottauthor.co.uk

5. I altered a few lines. In the first stanza as I had the word new used 3 times, and it was going to 17

Writing Prompts

Monthly Writing Prompts: January

Using a theme of New Beginnings, Wendy H. Jones and Tami C. Brown provide writing prompts for January. With plenty of options to choose from - words, music and images - why not give it a go ?

Wendy H. Jones

J

anuary heralds the start of a new year. Reflecting this, the theme for January is— New Beginnings.

Tami C. Brown

(Photographic images by Tami C. Brown)

Words

Music

Fresh start

I Can See Clearly Now by Johnny Nash

New perspective

A New Day Has Come by Celine Dion

Moving forward

Begin Again by Purity Ring

Image 1 18

Image 2

Image 3

Editor in chief, Wendy H. Jones is the multi-award -winning, best-selling author of adult crime thrillers and cozy mysteries, children’s picture books and non-fiction books for writers. In addition she is a writing coach, partner in Auscot Publishing and Retreats and hosts the Writing and Marketing Show podcast.

Tami C. Brown loves to have her camera ready to snap beauty wherever she goes. Her family and friends, affectionately known as the Queenies, are well prepared for random stops along the journey to have a photo op. She’s grateful for all photography opportunities and the adventures that come along with it.

19

Article

How Editing Is Like Starting Your Book Over Again

Jeanette the Writer discusses the shift in mindset required when we shift from writing to editing our work.

H

appy New Year! Just as January brings us a new mindset of focus, so too must we approach our manuscript with a new mindset when we get to editing.

Jeanette the Writer you ever said something to someone that they took in a way you didn’t intend? Maybe your tone was off, or you didn’t pick the right words to avoid offense. Well, your reader is that person, and you need to make sure every choice in the manuscript is understandable and intentionally directed at their enjoyment.

But wait. Isn’t editing just adding in a few scenes, changing some words, and moving some commas around?

Not quite. The mindset we’re looking for when we transition from writer to editor is not that of a grammarian or proofreader. Instead, we need to become someone even more important—the reader.

This mindset shift happens between writing and editing, which is why it’s important to keep them as separate activities. We need to take time away from our manuscript—a week, a month, a few months—however long you need to “forget” what you wrote. Now we can approach it as if it’s something new.

The Daunting Shift Yikes! First, we had to become a writer to get the book on paper, and now we need to become the book’s reader?

But this can be incredibly daunting. Authors already took months or years to write the book.

How long will editing take?! Not to mention the fear, self-doubt, potential criticism we face from others, etc. But ultimately, we find the truth unavoidable—those “others” are our audience, and in the end, we’re doing all this for them.

Yes, this is the mindset shift we need in order to make our revisions count. Editing is a completely different activity than writing. You may need to put on your writer hat and do some scene crafting during your editing. But editing itself is a whole other beast.

A Fresh Perspective

The actual shift in mindset we need to make is from that of the person telling the story to that of the person receiving it. Think of it this way: Have

There are many more benefits to this reader mindset than there are detriments. Sure, it takes 20

Write in Time

some practice to slip into this viewpoint, but once you do, you’ll see how important it is. It helps us:

Louisa May Alcott (1832-1888)

Let go of attachment. It’s no longer our work; it’s someone else’s manuscript that we’re evaluating for the first time. This allows us to be ruthless and remove and change things without holding onto sentimental words or sections.

Louisa May Alcott. Novelist, short story writer and poet.

Born in Philadelphia in November 1832.

Recognize the manuscript’s flaws. Because we are now not defending our work to ourselves, we can spot plot holes, pacing issues, confusing passages, and more.

She was the second of four daughters born to Amos Bronson Alcott– a philosopher, teacher and controversial educational/school reformer.

Keep to reader expectations. Avid readers of a genre expect certain elements to be present, such as strong worldbuilding in fantasy or issues that keep lovers apart in a romance. Being a reader of the genre you wrote in can ensure you have the important aspects down.

Louisa never married or had any children. In her later years, she adopted her niece, Louisa May Nieriker, when her sister died.

She contracted Typhoid during the Civil War and was treated with mercury. Mercury poisoning may have contributed to her early death from a stroke in March 1888, at the age of 55.

She frequently felt unwell over her last 20 years. Recent thinking is that mercury ingestion could have triggered systemic lupus erythematosus (SLE).

Enhance the storytelling. If we as a reader aren’t motivated by our main character’s journey or the swashbuckling plot, then other readers won’t be either. Having a new mindset allows us to enhance our stories to keep readers engaged.

Final Thoughts Some of her many publications

Switching your mindset from writing to editing is necessary to end up with the best product possible that will speak to all your adoring fans. Don’t fret. I promise that editing is the fun part. And it’s the only way to finish your masterpiece.

Letters in Book form Hospital Sketches (1863) Autobiographical Children’s Novel Little Women (1868) Little Men (1871) Jo’s Boys (1866)

So, go out and start editing!

Other works Part two, of Little Women—also known as Good Wives (1869)

Jeanette is a writer and copyeditor based in Dallas, Texas. When not moving commas around, she enjoys scuba diving, grammar blogging, crafting, and annoying her cats by trying to make them famous on Instagram.

21

Book Review

Writing Book of the Month —January Writing the Shadow by Joanna Penn Reviewed by Wendy H. Jones Writing the Shadow: Turn Your Inner Shadow into Words by Joanna Penn ISBN-10 : 1915425417 ISBN-13 : 978-1915425416 Publisher : Curl Up Press (December 2023)

Blurb Do you want to connect with readers on a deeper level?

Do you want your books to stand out in a sea of content by being authentic and personal in your writing whatever the genre?

Are you interested in creative self-development?

“You don’t have permission to write that.” Our own self-censorship and the judgment of others keep us from writing freely— and sometimes, from living fully.

If yes, Writing the Shadow is for you.

This is a book of my heart and it contains many personal stories — but this book is really about helping you reach readers with your words — and move to the next level in your writing.

But all great art taps into darkness, and your most compelling work emerges when you embrace your full humanity—both light and Shadow.

Because we all long to write boldly, without filters or fear.

In Writing the Shadow, I’ll guide you on an intimate journey to explore the darkness and discover the gold lying hidden in its depths. Gold that may be the source of your best creative work in the years ahead.

To spin stories that capture the messy beauty of what it means to be human. Tales that lay bare the truth of living — darkness and all.

But something holds us back.

The Shadow is calling. It’s time to turn your inner darkness into words.

Whispers of “Who do you think you are?” and

22

selves. One area which particularly resonated with me was mine your writing for aspects of shadow. This left me wanting to look at my earlier work and I believe I learnt something about myself in doing so. The book talks about and is based on Jungian Psychology, so can be a difficult book to read as it is based on self-analysis.

This means, as the author herself points out, it is important to practice self-care.

Whilst this self-analysis does allow the reader to learn more about themselves, ultimately it is about working out how this new found knowledge to develop as a writer and grow their author business and career. It is about using the learning to deepen creativity and become a better writer.

Review I am a fan of Joanna Penn’s work and love all of her writing craft books; however, the title of Writing the Shadow intrigued me, letting me know this one would be different to the others, even though it would be familiar.

This is not a book to read quickly and move on; it is about digging deep into the psyche, challenging ourselves as writers, exploring our motivation and developing greater self-awareness.

Editor in chief, Wendy H. Jones is the multi-awardwinning, best-selling author of adult crime thrillers and cozy mysteries, children’s picture books and non-fiction books for writers. In addition she is a writing coach, partner in Auscot Publishing and Retreats and hosts the Writing and Marketing Show podcast.

In many ways it is not an easy book to read, in fact at times it can make the reader uncomfortable, but I believe reading it makes us more intuitive to our thoughts, feelings and desires as writers. Penn challenges us to look at our behaviour and ascertain what it tells us about our-

23

Book Review

Writing Book of the Month — February Writing the Cozy Mystery: Expanded 2nd Edition by Nancy J. Cohen Reviewed by Sheena Macleod Writing the Cozy Mystery: Expanded Second Edition ISBN-10 : 0998531731 ISBN-13 : 978-0998531731 Publisher : Orange Grove Press; Illustrated Edition (November 2018) Blurb Writing the Cozy Mystery is a concise writing guide that describes step-by-step how to write a winning whodunit.

Do you want to write a cozy mystery but don’t have a clue where to start? Or perhaps you’re already writing a series, and you need tips on how to keep your material fresh. Writing the Cozy Mystery is a handy reference guide that will help you develop your characters, establish the setting, plot the story, add suspense, plant clues, and solve the crime.

Review If you want to write a cozy mystery then I would recommend reading this book. Even if you are already writing in this genre, there will be something you can take away with you in this expanded second edition, including chapters on writing a synopsis and pitching your novel to agents.

This award-winning second edition contains examples from the author’s Bad Hair Day Mysteries along with writing exercises, marketing tips, advice on how to maintain your series, and special considerations for cozy authors. You’ll find everything you need to know in an easy-to-read, clear manner to write your own mystery and to refresh a long-running series. Recommended for cozy writers, mystery fans, and creative writing classes.

This step-by-step guide is an excellent guide to plot development, which characters you should include and their roles within the story, and, more importantly, the structure expected by cozy mystery readers.

(Agatha Awards Finalist, Gold Award Winner in the FWA Royal Palm Literary Awards, the FAPA President's Book Awards, and First Place Winner in TopShelf Magazine Book Awards)

This is a writing book to treasure. I found Writing the Cozy Mystery an invaluable writing resource that can be read right through or dipped in and out off as, and when, required.

24

Book Review

Feeling ‘Blah’? By Tanith Carey Reviewed by Louise Cannon Feeling ‘Blah’? By Tanith Carey Non-fiction ISBN: 9781801292375 Publisher – Welbeck Publishing Group UK Imprint: Welbeck Balance April 2023 Blurb How much do you enjoy your life?

Does life feel dull? A bit grey?

Do you feel as if your emotions have flatlined?

This is anhedonia – a word only a few of us have heard of but one that explains why so many of us feel we are sleepwalking through life.

Review

Anhedonia is from the Greek word for “without pleasure” and describes a loss of interest in activities you once enjoyed. It explains why many of us spend our lives in a fog, feeling neither happy nor sad, just not very much at all.

After the sparkle of Christmas, the first few weeks or months of a new year often has us really thinking about our life, what we want from it, what to change, how to get some zing about it.

Perhaps you’re Feeling ‘Blah? This book can assist in tackle flat-lined emotions.

In the first book to tackle this missing piece in mental health, writer Tanith Carey joins the dots on how convenience culture, stressful lifestyles, modern diets and both female and male hormonal changes can dial down our ability to feel excitement and joy. With the help of world-leading experts and by digging into the latest research, Tanith shows you how your brain’s dopamine reward system works and provides strategies to help you bring colour back into your life.

Carey takes you by the hand and gently guides you into what Anhedonia or Blah is and a very quick history of it and how to combat this low feeling, backed up by scientific research. Carey shines a light of realistic, down-to-earth positivity in easy to understand “meh” feelings in bitesized chunks with long-lasting advice.

She also notes further support resources.

Groundbreaking, accessible and often surprising, this is the book that will teach you how to kickstart your feel-good chemicals and start loving life again.

Louise Michelle Cannon lives in Central Scotland with family and a cute but wily cat.

She writes a blog – Bookmarks and Stages, reviewing books, theatre, festivals and conducts the occasional Q&A sessions.

25

Writing like Hemingway

John Greeves shares why Writing like Hemingway has had such an impact on many writers and what doing so can do for your own.

H

emingway’s prose style was probably the most widely imitated of any in the 20th century. His prose strove to be as objective and honest as possible cutting away any redundancy. As a writer, he stripped his stories of all insignificant and superfluous details, leaving only the underlying essentials for his readers.

John Greeves

Without stating it, the person’s action, speech, appearance, and possessions all express apparent values, emotions, and motivations. In other words, by describing the right actions in an accurate way a writer can show the character’s emotion without spelling it out.

“Write the best story you can and write it as straight as you can.” - Hemingway.

Hemingway used short, simple sentences, composed largely of nouns and verbs with few adjectives and adverbs and favoured repetition and rhythm to create an effect. His dialogue was similarly direct and natural-sounding. On the surface Hemingway’s prose appears concise and unemotional. It may seem straight forward, but it is by no means simplistic, as the form is deceptive, conveying greater meaning through its omission and understatement.

“If a writer of prose knows enough of what he is writing about, he may omit things he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly though the writer has stated them.”- Hemingway Hemingway never wrote a treatise on the art of writing fiction. He did leave behind in his letters, articles, and books opinions and influences on the art of writing. One of his greatest influences came after he graduated from his high school in 1917 and became a cub reporter with the Kansas City Star. He worried initially about his overall grasp of spelling and grammar and how this could impact on his reporting.

His style of writing is often referred to as the Iceberg Theory (aka the theory of omission), a technique coined by Hemingway himself. If you imagine an iceberg the process becomes clearer. The top you can see above the water is the story you’ve written. The larger, unseen mass submerged below the surface is the wider story.

26

Hemingway owes a great deal to one chief editor, Thomas W. Johnston, who developed a linguistic and style guide for his staff. Today, the facsimile of The Star Copy Style Sheet, remains one of the most frequently requested item (https://is.muni.cz/th/z43k9/ Hemingway_style_sheet.pdf ).

namic, energetic, thorough, spirited, or vital just to name a few. But what did he mean by this term? Vigorous English comes from passion, focus and intention. The rule not only implies selecting words which carry their own weight on the page, but also selecting words which communicate ideas in the best way and bring energy to your writing.

Hemingway later remarked to a reporter the admonitions in this style sheet were “the best rules I ever learned for the business of writing; I’ve never forgotten them.” The guide not only covers issues such as punctuation and grammar but also concepts like tone, voice, knowing how a story affects its telling, but also includes four fundamental rules:-

Be Positive, Not Negative What this means is a writer should try and express something positively, by saying what it is, rather than what it isn’t. The best writing is positive even when discussing negative things. For example, instead of saying it’s in ‘very much doubt’, say its ‘uncertain’. Instead of saying the work is ‘demanding’, say the work is physically energetic. Or instead of saying she bought a ‘cheap outfit’, use ‘inexpensive’. Such positive directness enhances all writing.

•Use short sentences; •Use short first paragraphs; •Use vigorous English; •Be positive not negative

The Writer’s Day

Use short sentences

Hemingway once said “We are apprentices in a craft where no one ever becomes a master.”

American writer, William Faulkner, was featured in the 1983 Guinness Book of World Records for his lengthy passage from his 1936 book, Absalom, Absalom. The huge run-on sentence consists of 1,288 words and countless clauses. For Hemingway the short sentence remained paramount to all his writing.

Although Hemingway, never wrote a book specifically about the craft of writing many of his thoughts about its essence can be gleaned from his letters, books, and articles.

Many of these were assembled by Larry W Phillips in the 1984 book Ernest Hemingway On Writing.

Phillips is recognised as a leading authority on Hemingway's writing, providing invaluable insights into the celebrated author's literary techniques and philosophies.

Use Short First Paragraphs

Short paragraphs are easier to read and understand. They contain shorter sentences, with pace and immediacy. They enable authors to place emphasis on key words and to develop the thrust of an idea while holding the reader’s attention. Negative white space is excellent in breaking up your prose, making it more easily understood.

Some of Hemingway’s advice can be summarised in this way. Every writer knows how difficult that initial sentence can be and how it can be the key to unlocking our writing. For Hemingway, to break this deadlock all you have to do is to “Write the truest sentence that you know.” Not only can this initiate your writing but it can overcome writer’s block.

Use Vigorous English Hemingway said writers should use “vigorous” English. Vigorous has many meanings: active, dy27

Africa, he was injured in a plane crash. His experience of deep sea fishing is reflected in his novella The Old Man and the Sea (1952) for which he received the Pulitzer Prize in 1953.

In Moveable Feast, he writes: Sometimes when I was starting a new story and I could not get it going, I would sit in front of the fire and squeeze the peel of the little oranges into the edge of the flame and watch the sputter of blue that they made. I would stand and look out over the roofs of Paris and think, “Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.” So finally I would write one true sentence, and then go on from there. It was easy then because there was always one true sentence that I knew or had seen or had heard someone say.

In his book, Daily Rituals, Mason Currey records a 1958 Paris Review interview with Hemingway saying:“When I am working on a book or a story I write every morning as soon after first light as possible.

There is no one to disturb you and it is cool or cold and you come to your work and warm as you write. You read what you have written and, as you always stop when you know what is going to happen next, you go on from there.”

Hemingway drew extensively from his wide ranging experience for his writing. From the age of six he was taught to shoot. He became a big game hunter, a deep-sea fisherman and served as a war correspondent in many conflicts. During World War I, he served as an ambulance driver in the American Red Cross and was wounded in 1918 by mortar fire but despite his injuries carried a wounded Italian soldier to safety. Hemingway served as a war correspondent in the Spanish Civil War. His impressive novels For Whom the Bell Tolls (1940), and A Farewell to Arms (1929) reflect the harrowing brutality of war.

Currey writes about the unusual way in which Hemingway wrote.

“He wrote standing up, facing a chest-high bookshelf with a typewriter on the top, and on top of that a wooden reading board. First drafts were composed in pencil on onionskin typewriter paper laid slantwise across the board; when the work was going well, Hemingway would remove the board and shift to the typewriter. He tracked his daily word output on a chart — “so as not to kid myself,” he said. When the writing wasn’t going well, he would often knock off the fiction and answer letters, which gave him a welcome break from “the awful responsibility of writing” — or, as he sometimes called it, “the responsibility of awful writing.”

During the Second World War, he worked as a war correspondent crossing the English Channel with American troops on D-Day (June 6, 1944).

He saw a good deal of action in Normandy and participated in the liberation of Paris. Other books such as Death in the Afternoon (1932) detail his primitive passion for the spectacle of bullfighting and big game hunting like the Green Hills of Africa (1935), where he brought his experience to bear in his writing. Today these so called ‘sports,’ arouse criticism in many circles.

Although a heavy drinker, Hemingway never drank when he was writing. When he finished working for the day, he didn’t want to think about his writing. “That way your subconscious will work on it all the time,” he says.

In a Moveable Feast, he writes: “When I was writing, it was necessary for me to read after I had written. If you kept on with it you’d lose the thing you were writing before you could go on with it the next day.”

Hemingway knew the importance of establishing a writing routine, the power of discipline and consistency, and the need to avoid procrastination. He also travelled widely, and on a trip to 28

Returning to his writing the next day, Hemingway would read through what he had written previously correcting as he went along and then continued from where he stopped. Editing and revision were always a great part of Hemingway's process. Hemingway would often leave his manuscript for a long time and then revisit it with fresh eyes.

Four Fundamental Rules:•

Use short sentences

For Hemingway the short sentence remained paramount to all his writing.

•

The Sun Also Rises illustrates an example of Hemingway's dedication to the revision process.

The initial manuscript of the novel was quite different from the final published version after multiple rounds of edits. He believed this remained a vital part of the writing process.

Use short first paragraphs

Short paragraphs are easier to read and understand. They contain shorter sentences, with pace and immediacy. They enable authors to place emphasis on key words and to develop the thrust of an idea while holding the reader’s attention. Negative white space is excellent in breaking up your prose, making it more easily understood.

Hemingway was a prolific writer, he published seven novels, six short story collections and two non-fiction works. Three novels, four collections of short stories, and three non-fiction works were published posthumously.

•

He is remembered for his classic succinct and lucid prose and still considered a literary giant.

His works explore love, war, wilderness and loss.

His impact has paved the way for many writers, and his influence is still felt today where it continues to shape many minimalistic styles of today.

Use vigorous English

Vigorous English comes from passion, focus and intention. The rule not only implies selecting words which carry their own weight on the page, but also selecting words which communicate ideas in the best way and bring energy to your writing.

•

Be positive not negative

A writer should try and express something positively, by saying what it is, rather than what it isn’t. The best writing is positive even when discussing negative things. For example, instead of saying it’s in ‘very much doubt’, say its ‘uncertain’. Instead of saying the work is ‘demanding’, say the work is physically energetic. Or instead of saying she bought a ‘cheap outfit’, use ‘inexpensive’.

Such positive directness enhances all writing.

John Greeves originally hails from Lincolnshire.

He believes in the power of poetry and writing to change people’s lives and the need for language to move and connect people to the modern world.

Since retiring from Cardiff University, Greeves works as a freelance journalist who's interested in an eclectic range of topics.

29

Bookshop of the Month

Bookshop of the Month - January: Books Are Magic, Brooklyn, New York

S

ituated at two separate locations in Brooklyn, New York, Books are Magic is a family-owned Independent Bookstore with lots on offer for both readers and writers.

The bookstores are open every day, including weekends, and offer a wide selection of books and book-related events for both adults and children. From story-time to poetry readings there seems to be something available for every reader and writer.

Books are Magic is owned by New York Times best-selling author Emma Straub and her husband Michael Fusco-Straub.

Books are Magic specializes in a range of hard-tofind-books plus free readings by authors. There are author and other writing-related events on many nights of the week and over the weekend.

They opened their first bookstore in 2017, after the neighbourhood independent bookstore closed its doors, and have gone from strength to strength ever since. The second Books are Magic store opened in 2022.

Books are Magic website- https://www.booksaremagic.net/

30

Bookshop of the Month

Bookshop of the Month - February: Hatchards, London

by Wendy H. Jones caters to commuters and those taking trains throughout the UK and on to Paris and Brussels via the Eurostar. Situated right next to Fortnum and Mason, which has a café, one can buy a book and then sit and sip coffee and read it whilst waiting for a train.

Our February bookshop of the month is the UK’s oldest surviving bookshop. Established by Mr Hatchard in Piccadilly in London in 1797, it continues to trade in Piccadilly to this day.

The bookshop is stunning, with wood panelling and a real old-world feel. Wandering around its shelves, one can almost imagine the ghosts of top hatted gentlemen and ladies with beautiful gowns wandering up and pointing out their favourite books. It certainly does give a real sense of history.

This is one of my favourite bookshops to browse and I know I will always find a golden nugget of a book which will change my views on reading in ways I can only imagine. I would encourage you to visit.

Of course, it contains a veritable cornucopia of books in every conceivable genre, size shape and colour. If you enter through the doors and fail to come out with a book, there is something seriously wrong.

Editor in chief, Wendy H. Jones is the multi-awardwinning, best-selling author of adult crime thrillers and cozy mysteries, children’s picture books and non-fiction books for writers. In addition she is a writing coach, partner in Auscot Publishing and Retreats and hosts the Writing and Marketing Show podcast.

However, Hatchards moves from the ancient to the modern with a beautiful new, glass fronted building in St. Pancras Station in London. This

31

Recent Releases Title: The Book of Beginnings by Sally Page ASIN: B0BQV5G39X Publisher: Harper Collins (September 2023)

Jo Sorsby is hiding from her past when she agrees to run her uncle’s beloved stationery shop. Glimpsing the lives of her customers between the warm wooden shelves, as they scribble little notes and browse colourful notebooks, distracts her from her bruised heart.

When she meets Ruth, a vicar running from a secret, and Malcolm, a septuagenarian still finding himself, she suddenly realizes she isn’t alone.

They each have a story that can transform Jo’s life… if only she can let them in.

Title: Killer’s Cure by Wendy H. Jones ASIN : B0CNWHTDJP Publisher : Scott and Lawson (November 2023) DI Shona McKenzie is hurtled into her most complex case yet, when she is alerted to the unexpected deaths of several women, all of whom were hospital inpatients. All were recovering.

None should have died.

None on the same ward.

None in the same hospital.

Then the case takes an even more sinister turn. Where does Shona even start to solve her latest case and how can she join the pieces together to bring a killer to justice

32

Writing Group of the Month

City Writers

by Wendy H. Jones

Our writing group of the month is the online writing group, City Writers.

Some members of City Writers taken at the Scottish Association of Writer’s Annual Conference in Cumbernauld, March 2023

C

ity Writers is an online writing group which was started by me about seven years ago for those who were interested in writing and for established writers.

Eileen Rolland, Pauline Tait, Lorraine Smith, Kathryn Holme, Wendy Jones and Sheena Macleod

From a small group of six writers in the Dundee Area, it has now grown to a group of some twenty-five writers from all corners of the earth.

passion to support others as they move along the writing path.

Initially, we met in Dundee but, due to Covid and the international aspect, we moved online, meeting on the first Monday of the month on Zoom.

If you would like more information or would like to join, please contact me at wendy@wendyhjones.com

We usually have a talk from one of the members and a discussion afterwards. Members have a chance to have work critiqued and, as the group is affiliated to The Scottish Association of Writers, can enter the SAW competitions and attend the yearly conference.

Wendy H. Jones is the multi-award-winning, best-selling author of adult crime thrillers and cozy mysteries, children’s picture books and non-fiction books for writers. In addition she is a writing coach, editor in chief of Writers’ Narrative, partner in Auscot Publishing and Retreats and hosts the Writing and Marketing Show podcast.

Our membership is made up of writers and authors at all stages of the journey from those just starting out to multi-awardwinning, best-selling authors. What we all have in common is a love for writing and a

33

Beginnings

Jenny Sanders discusses the importance of getting the beginnings to your stories right as these have to grab the readers immediately.

J

ust last month, at the close of the year, I considered the endings of novels; the satisfactory ones and the ones which left me either confused or frustrated. It’s only fair, therefore, to begin a new year with a consideration of beginnings or openings.

Jenny Sanders

We all know a writer must grab the attention of a reader in those first few words, or risk them closing the book and going off to do something they find more interesting: make a cup of tea, resuming their ‘to do’ list, watching paint dry, etc. Have we got what it takes to avoid that?

we had been wrapped up in to take the journey into an adventure, fantasy or ancient folk tale, gladly leaving our more immediate realities far behind.

The adult world is more demanding. Perhaps Charles Dickens served us the best hook of all with his classic opener from A Tale of Two Cities: ‘It was the best of times, it was the worst of times.’

I’m part of a writing group that encourages the weekly sharing of our work in progress under the appropriate hashtag: #firstlinefriday. The sheer variety of sentence constructions, as well as content and tone, is fascinating.

I’m drawn to some, completely hooked by a few, repulsed by others, and left stone cold by a handful. Of course, that’s one of the many inherent delights of books; we all enjoy different genres, different outcomes and different plot lines. Reading is nothing if not highly subjective.

It’s powerful, concise, intriguing; it draws the reader in while simultaneously prompting powerful, open questions: Which time? Where?

Who? Why? What? These are the ones which we were encouraged to emulate in our laboured efforts during school composition lessons back in the day, as we contemplated the blank paper before us.

Just think how boring it would be if we all began our stories with the traditional, ‘Once upon a time…’. We embraced those magical four words when we were much younger. They signaled the opening of a door into an imagined world of some sort, and we willingly pushed aside whatever past time or idle contemplation

Another line that works in a similar way comes from Charlotte Brönte’s Jane Eyre: ‘There was no possibility of taking a walk that day’. It’s innocuous in itself, yet it prompts the same type of questions, particularly, why? Is she commenting on more than just the weather? We have to read on to find out.

34

Daphne du Maurier does a great job with her slightly sinister, ‘Last night I dreamt I went to Manderley again.’ Was it a good thing or a bad thing, we are prompted to ask, and where is/was Manderley anyway? That opening sets the tone for Rebecca before we’re really aware of what’s going on. The inclusion of the word ‘again’ evokes anticipation entirely different from that which we’d imagine if this was a first visit. It still gives me goose-bumps.

While you don’t necessarily need to begin your book at the beginning of the story, you must be clear and careful to ensure the reader comes with you on your word journey, however convoluted. You’ll need solid signposts and be sure to fill in those data gaps before long.

I’ve read some novels which take so long to share their secret in the name of suspense that by the time it arrives it has lost its spark. My anticipation has evaporated in a cloud of disinterest.

There are some opening lines that have become so famous we can identify them even if we haven’t read the book from which they come (not that we would admit to this, of course). Who can forget the much quoted statement marking the outset of Pride and Prejudice: ‘It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife’?

Or the more succinct ‘Call me Ishmael’, from Herman Melville’s Moby Dick.

‘Show, don’t tell’, rings in our ears. We know that umpteen pages of backstory before anything happens is not going to spark much joy for our readers, and we’ll probably have lost them somewhere around page three anyway.

We’re aware too we should ‘leak’ the information the reader needs through appropriate, snappy dialogue consistent with the characters we’ve created. We must be careful too with accents and colloquialisms. So many words of advice bounce around us as we graft to find our own voice and weave our compelling tale, it’s important to stay grounded as we write.

There is no formula as such regarding word count for an opening line, but it does need to pack some kind of punch, or provide a hook by which the writer can reel in a willing reader if they are to be persuaded to commit to the subsequent pages of indeterminate number.

Perhaps there are openings which put you off reading any further. If so, you’ll almost certainly avoid the pitfalls of including them yourself.

Again, we all have different tastes in the matter.

A wordsmith worth their salt will ensure the main character is established fairly soon, together with a sense of time and place. There may be a description or action in the opening paragraph, but either way, it needs to be clear what’s going on.

Personally, I won’t read on if the book begins with a profanity of any sort. It’s not that I’m super squeamish about that, it just smacks of lazy writing to me. Besides, I only need to walk up my local high street to hear this sort of dialogue, and I find it deeply depressing.

I recently read a novel in which I was thoroughly confused by the first few paragraphs. I had no idea which character was presenting their view of the world. Despite going back and re-reading them three if not four times, I still ended up concluding the character through whose eyes we were seeing the story was completely different from the one who eventually emerged. I felt cheated and thoroughly wrong-footed; it was tempting to discard the entire book.

Likewise a torrid sex scene isn’t my idea of a great opening. I dislike huge jumps in time, am not a great fan of prologues (though I have appreciated some), and baulk at a long list of characters before we get to anything approaching a story.

35

As far as I am concerned, a cast list is for theatre productions; elsewhere I’m content to meet the characters as I go which (usually) makes far more sense than having a veritable crowd of them thrown at me at the beginning, as though the rest of the novel is a test to see if I can remember who is who. I can’t.

portant first line. We may stumble and fall at our first attempt, but after a period of time, when the rest of the piece looks solid and robust, we may well find a first line that reveals itself as a winner.

A quick flurry of key-clicking, and what looked feeble and apologetic may now jump off the page and demand the reader continue.

Besides, if I’m reading on a Kindle, which is more frequent these days as I travel, then the old trick of sticking your finger in the page and flipping back regularly is simply not so feasible or satisfactory.

Here’s hoping we all find many such lines as we embark on a new year of writing, in whichever genre; good luck!

One of the great bonuses for anyone who writes is the access we now have to ‘copy and paste' functions and, best of all, that glorious delete button. Since even beginning to write is often the biggest hurdle we face, we are now without excuse. Trap your words onto a document and mess about with it at your leisure. I dare you!

Jenny Sanders is a writer, speaker and mentor who writes in different genres. Spiritual Feasting is her faith-based exploration of authentic living in tough times. She has two collections of humorous children’s stories: The Magnificent Moustache and other stories and Charlie Peach’s Pumpkins and other stories. She is available for author visits for creative writing sessions with Key Stage 2 children in the UK

Editing is simply an inevitable part of our process, and that includes the pesky but all im-

36

Library of the Month Lochee Community Library by Pauline Tait

S

et within a Jacobean Renaissance style building, Lochee Library is nestled in the heart of the Dundee suburb. Atmospheric and welcoming, the library forms an essential hub for the local community.

Meeting members of my writing group and looking forward to rattling out as many words as the opening hours would allow, I arrived with purpose and ready to enjoy the company of my fellow authors. We had chosen Lochee Library because, travel wise, it was a sensible midway point for our members, meaning it was my first visit.

any locals needing company, a safe space, or simply to get in from the cold.

Finally, as with anywhere, it is the staff that complete the experience. Laura and Duncan were on hand, ready to welcome and assist visitors throughout the day, making Lochee Library one I would visit again.

Initially welcomed by the children’s department, I was delighted to see the obvious care and attention the department was given. A planetary display was the theme, and the enticing shelves were ready and waiting for the daily influx as pupils from the neighbouring primary school made it their first port of call at the end of their school day.

The rest of the library certainly didn’t disappoint either. Warm and inviting, I was delighted to see many locals were making use of the ample facilities. The computer hub was used regularly throughout the day, as were the various tables and chairs dotted throughout the building.

As is now an expected norm in our Scottish libraries, tea and coffee were available throughout the day, adding to the enjoyment of our visit. But our enjoyment aside, these warm drinks are on tap for

Pauline Tait is an award-winning children’s author, novelist, and writing mentor based in Perthshire, Scotland. She enjoys writing both romantic suspense and children’s picture books as well as mentoring children’s authors. More information on Pauline’s writing, mentoring and books can be found at www.paulinetait.com 37

February: The Month of Love

This poetic form is not dissimilar to the Zanze in the previous article, as it also has a tight structure.

Lis McDermott

Roundel Not rondel 11 Lines 3 stanzas

The first line is important, because that sets the number of syllables for the remainder of the poem. The next issue is choosing the right words for the opening B phrase, which is later used as the refrain.

Part of first line becomes the refrain abaB bab abaB rhyme scheme Isosyllabic – consistently have the same number of syllables except the refrain – more concise – roughly half the length.

My first choice of wording for the refrain in the first line, gave me one syllable too few;

Line 1 - - B - - a (half of this line creates the refrain)

Love of my heart

Line 2 - - - - - b Line 3 - - - - - a

The second idea fit the syllables - You are my true love – however, there aren’t enough words that rhyme with love and also fit the theme.

Line 4 - - B (refrain) Line 5 - - - - - b

Next, I had to find the right words that would create the 5 rhyming words for each of the two rhyme ends.

Line 6 - - - - - a Line 7 - - - - - b

I made a list of words that I felt could work for the poem (finally, using the ones in italics).

Line 8 - - - - - a Line 9 - - - - - b Line 10 - - - - - a

B rhymes: Heart; start; part; depart; sweetheart; apart; art.

Line 11 - - B refrain 38

Passionate

A rhyme: Yours cures; doors; wars; ignores; explores; shores; spores;

As you can see, I ended up with several ideas for some lines, but also, I ended up with a range of syllables, and they should be a consistent number throughout.

For the first draft I write lines and just see where my imagination takes me.

A I give you my heart, my love forever yours (11 syllables)

The finished poem has 10 syllables per line, apart from the refrain, which has 5.

B you are my one and only true sweetheart. (10 syllables)

A I would follow you to the furthest shores (10 syllables)

I give you my heart, mine forever yours,

I give you my heart,

I yearn only for you, my true sweetheart, and I’ll follow you to the furthest shores.

B from the very first meeting, the very start, (11 syllables)

I give you my heart

When our eyes first met, that was the start, (9 syllables)

When our eyes first met, that look was the start, of a fever for which time holds no cures,

A the palpitations you cause, there are no cures (11 syllables)

Come what may, from your side I’ll never part.

from the flutters of my heart there are no cures (11 syllables)

Our love has a strength that could ignite wars,

I felt fever in my heart, for which there were no cures (13 syllables)

The grim reaper could not tear us apart.

An impassioned love for eons endures-

of a fever for which there are no cures, (10 syllables)

I give you my heart.

B I knew then, from you I’d never part. (9 syllables)

Happy St Valentine’s Day. A Our love has a strength that could ignite wars (10 syllables) B Painters would capture our passion in art (10 syllables) A surely, a love like ours for eternity endures (13 syllables) Strong love for eternity endures (9 syllables) Lis McDermott is a multi-genre author, poet and writing mentor. Visit Lis’ website: https://lismcdermottauthor.co.uk

Intense

Fiery love for eternity endures 39

Flash Fiction Romance: Is it Possible?

Allison Symes shares why and how it is possible to write romance stories as flash fiction with its maximum word count of 1000 words.

F

lash fiction has a maximum word count of 1000 words so is it possible to tell a romance story in such a tight word count? It is.

Allison Symes

Surely, Allison, you need the word count space to reveal your characters, let their friendship blossom and romance develop? Surely the least you could “get away with” would be a long short story (over 2000 words) or a novella?

as a special song played and could have raised an objection. That shows this was a potential marriage.

The other character is the love of my Character A’s life now. Character A reveals they’ve been together for twenty years. Neither can stand the special song though Character A does not know why Character B loathes it.

No. You can write flash romance in under 1000 words. I’ve done so in fewer than 500 words.

Let’s start by thinking about what we mean by romance. We are talking about relationships. Do we need to know every single thing about a relationship? Not necessarily. There is much you can infer, which is the great strength of this story form. Let the reader fill in the gaps but give them the information they do need so they can do that.

Character A feels they’re right not to ask given they are happy. Character A isn’t prepared to rock the boat because they care about Character B. That is romance. A romance for two people who’ve been hurt before.

I’ve written romances from the viewpoint of older characters. I took part in the Flash NANO challenge again in November 2023 where over the month I was given thirty prompts to write a flash fiction piece about. Great fun and a good challenge but one tale I drafted for this was a romantic one. Its draft word count is 235 words. Yes, that’s all.

I don’t need to spell out Character’s B past hurt.

You just need to know Character A senses something here but also believes they’re right not to pursue it. You would do that for someone you cared about, right?Lisa WhatTurley I didn’t is need to show from Westin Sherelationships is on numerthis is why either ofVirginia. the previous ous ARC street teams and went wrong. I needed to show a reader where my reads in multiple genres. characters were at now.

She is passionate about helping authors get the So think about what you out must convey to books. readers. word about their What is the essential core of your story? For me in that draft, it is where the characters are at now and a little bit about how they got there. It’s only

In this draft I’ve shown my two characters have been in relationships before which didn’t work out.

How could I show that without using too much description given that can use up a lot of your word count allowance? Firstly, I got one character (Character A) to reveal they walked out of a church 40

a little bit because that’s all the reader needs to know. I have my Ideal Reader in mind when writing (and even more so when editing). I ask myself do they need to know this? Does it move the story on or reveal something important about the characters which in itself can move the story on? If the answer is ever no, something gets cut!

likely to fall for and where my character is likely to meet a potential life partner. Then I put obstacles in the way!

“Think about what you must convey to readers.”

We want our characters to earn their happy ever after, do we not? It is what readers long to read.

They want to find out who the characters are, what gets in the way of a good outcome for them, and how the characters overcome it. No reader wants a character to just have everything handed to them on the proverbial plate. Where is the story there? In romance writing readers want to see the characters work things out so their relationship has every chance of success.

“I start by outlining potential characters for a story and I need to know what their main traits are.”

You can also use the flash format to show a character reflecting on the love they once had. Flash can work well for monologues. One of my published pieces is exactly that with my male lead looking back at the love of his life. He has just lost her to illness. Everything he comes up with in that story shows the depth of his love. That is romance too.

I like a good ending for a romantic tale. Ideally it is a positive one too. It is one of the joys of this genre. There can be happy outcomes. It is one major reason why people read romance. It can be escapism. It can be feel good reading. It can be short too!

So what is your idea of romance? My idea of it is people caring for one another in a special way.

Flash fiction can hone in on what is the most important thing to my characters here - and only that. In my monologue piece, I didn’t need my male lead going into all of the details about how he met his lady love, how they fell for each other and so on. He sums it up succinctly before going on to reveal what matters now he has lost her.

Allison Symes is a flash fiction/short story writer, blogger and editor based in Hampshire. She runs writing workshops, judges competitions, and writes weekly for writers for Chandler’s Ford Today. She has two flash fiction collections published (Chapeltown Books) with a third in the pipeline.

Flash fiction encourages focus due to its word count restriction but this is a good thing. It makes me focus on what the characters must share with the readers and only that. This goes for any genre (I’ve also written crime flash, for example) but this applies to romance too. I would argue it makes the romance element “undiluted” because I must keep it short.

Subscriber News

“Flash fiction encourages focus due to its word count restriction.”

For advertising with us email writersnarrative@gmail.com subject headed for the attention of Editor in Chief

I start by outlining potential characters for a story and I need to know what their main traits are.

Why? Because from those traits will come attitudes, actions, and consequences. I can also start to see the kind of character my lead one is 41

When Sheer Imagination Isn’t Enough

Maressa Mortimer looks at why going to places for real makes such a difference to your world building.

S

ome places can be imagined, smelled and heard almost. But, sometimes, having a vivid imagination isn’t enough. The advice to write what you know is a great excuse to explore wonderful places.

Maressa Mortimer

My next series is set in Norway. I have never been to Norway. I watched a Viking village tour and somehow realised, despite all my geography lessons, I hadn’t placed any mountains in Norway, just lots of water. Is it swampy, like in the Netherlands when the drainage systems are overwhelmed, or does it smell like melted snow like in the mountains of Austria? Or both?

Read what you can beforehand Reading around the area and period will help you when you’re there, as it brings it all to life. It is easier to imagine characters and settings. It will narrow it down as well, as there will be an era you prefer or a setting you need to pick. It will show gaps in your knowledge or imagination, as you start to fill out the characters, and you realise you don’t know enough about their background.

I looked at holiday homes in Norway, and before we knew it, we had booked a family midweek break to Norway. It was the best thing ever. It gave me all the feels and smells, as well as brilliant conversations.

My first stop was a visit to a Viking museum nearby. It was centred around an event later in Viking history than the first book in my series will be, but the librarian was more than helpful and gave me as many answers as I could ask for.

I also came home with a few books ordered.

Prepare the questions I’m not a list builder, but I did write a few questions down, but in my head, I knew where my world building had gaps, and where the information wasn’t in the books I had read. Once you write down one question, another ten will follow, and one answer will lead to more questions, so make a rough outline of questions. Think through the characters, their homes, topics that might crop up in the story, and general stuff that you would like to know to feel confident in setting up your character’s troubles.

Having fulfilled the academic side of the research, I then spent a few very happy days just drinking in the scenery, the smells of the rocks and trees, imagining events and characters.

So here are a few tips to help you when starting a new writing project, and you want to take in the area.

42

Ask everyone

make a note of things you hadn’t considered including in your story. You might find your character misbehaving and not sticking to the plan you had in mind for a particular chapter. So make sure you can find information about those sidesteps.

I know not everyone will love chatting with the locals, but it’s interesting to hear people’s stories and perspectives. Sometimes, you hear a sentence you hadn’t considered before, and you will find a new rabbit warren of research opening up.

“We’ll have to come back one day,” is what we tend to say after most holidays, as there is always more to discover. I have found most people at least amused enough to answer all the questions, once you explain what you’re writing about. Even if people talk about the wrong era, it will still give you an idea of what life was like before or after.

Be prepared to change your mind Sometimes, seeing things in real life might make you realise you’re not ready to attack the first draft next week. You might need more reading, more research, rethink the plotline or simply let it simmer for a while longer. The story will be better for it, and you’ll enjoy the writing a lot more once your heart is in it. And maybe you’ll come to the conclusion that a fairy tale retelling in Portsmouth isn’t practical, but at least you’ll have had a wonderful day out, and a story about a murder in the docks might come your way, and you’ll be glad you went all the way south !

Just be there Sometimes a research trip can involve libraries, museums, and art galleries, but make time to sit in a cafe, walk to the top of a hill, stand on the edges of a quiet fjord or do that boat trip. Just take in the smells and sights, walk the ground, and look at the rocks as all of it will help. It might raise more questions, but there might be a willing local who will answer those questions or tell you where to look for the answers to them. Understanding the distances and difficulties in travelling, the crisp air and the incessant noise of birds will make your story more authentic.

Maressa Mortimer is Dutch but lives in the beautiful Cotswolds, England with her husband and four (adopted) children. Maressa is a homeschool mum as well as a pastor’s wife, so her writing has to be done in the evening when peace and quiet descend on the house once more. She loves writing Christian fiction, as it’s a great way to explore faith in daily life. All of Maressa’s books are available from her website, www.vicarioushome.com, Amazon or local bookshops

Take notes of things on the fringe It’s easy to make a note of the important things, the ones directly related to your project, but also

43

Writing Prompts

Monthly Writing Prompts: February With a theme of Romance, Wendy H. Jones and Tami C. Brown set the writing prompts for February. They hope you enjoy them. With plenty of options to choose from - words, music and images why not give it a go ?

Wendy H. Jones Theme for February – Romance

Tami C. Brown

(Photographic images by Tami C. Brown) Music

Words

Someone You Loved by Lewis Capaldi

Sunset Meal for two Cottage by the sea

I Do by Morgan Evans Lights Down Low by Max

Image 1 44

Image 2

Image 3

Editor in chief, Wendy H. Jones is the multi-award -winning, best-selling author of adult crime thrillers and cozy mysteries, children’s picture books and non-fiction books for writers. In addition she is a writing coach, partner in Auscot Publishing and Retreats and hosts the Writing and Marketing Show podcast.

Tami C. Brown loves to have her camera ready to snap beauty wherever she goes. Her family and friends, affectionately known as the Queenies, are well prepared for random stops along the journey to have a photo op. She’s grateful for all photography opportunities and the adventures that come along with it.

45

From The Desk Of The Office Dog

January: The Most Traumatic New Beginning

Sophie, ably assisted by Peter Thomas, discusses new beginnings for dogs and shares why stories help readers explore new things which can help them face change in their real lives.

S

tarting a new job or a new writing project; embarking on a new relationship; moving to a new house or even a new country; retiring after a lifetime of hard work; changes in life bring excitement and anticipation, but they can also make us anxious and fearful.

Sophie

Will my new humans fully appreciate a dog’s needs of adventures in parks and woods and the joys of swimming in the river and the sea? Will there be adequate supplies of cuddles and Sausage Sandwiches? Will I be allowed to sleep on their bed and climb on to the table to forage for snacks? My best friends Dotty and Maddie do these things and so do I when I stay with Auntie June on my holidays, but I get into trouble whenever I try them back at home again. All puppies are filled with dread contemplating uncertainties – when the time comes to move, what will my new home be like?

However, most human experiences of new beginnings are a run in the park compared to the new start most dogs have to make when they are only eight weeks old. That is the tender age at which most puppies are taken away from everything they know, to go to a different home with their new forever family.

“Changes in life bring excitement and anticipation, but they can also make us anxious and fearful.”

The thought of this enormous step raises vital questions. When the succession of prospective new humans came for interview, did I choose the right ones for me? Will I like the new name they give me? Will I have my own room or will I have to share it with another dog, or a washing machine, or a cat? Will I have a nice garden to play in, or will I live in a fifth floor flat with only a tiny square of grass on the balcony to use as an outside convenience, like my cousin Raymond has?

While they are still tiny, most dogs wake up to a day when they have to leave their true mum and their siblings and their birth humans. After probably their first journey in a car or on a train they start to build a completely new life in a strange house alongside unfamiliar humans. It takes many dogs weeks, and some need months to settle in to their new surroundings, and a few never do.

46

I should now reveal that none of this actually happened to me. I was born a week before my true mum Poppy’s due date at the end of a very busy Sunday while my daddy was crashed out watching Indiana Jones and the Last Crusade.

– to write in an engaging and believable way about events and emotions we may never have experienced. Sometimes we can draw on our own memories or on those retold by others.

“That is what fiction writing is all about – making stuff up.”

During the loud bit with the tank my daddy heard lots of squeaking and realised that there was not only a black stealth spaniel on the other sofa but now also two hamster-sized puppies. A whelping pen had been prepared but Poppy claimed she never got the memo.

But for the rest we need to use our imaginations.

As many have observed, that is what fiction writing is all about – making stuff up.

Her humans had always said that they would only ever be a one-dog family because on the scale of bounce one spaniel is an eleven out of ten so two spaniels would be eleven squared. But when I was four weeks old, I looked my daddy in the eye and licked him on the nose to indicate that I would be prepared to stay with them. I think he felt so guilty for failing to notice that I was being born that he immediately agreed.

So I never personally experienced the stress of moving to a new family. To be fair, all my brothers and sisters tell me that their new humans have been wonderful for them from day one. Dotty and Maddie and Raymond say the same.

Peter Thomas and Sophie Rev Peter Thomas has published three non-fiction books and is delighted now to assist Sophie in her creative writing projects. Originally a teacher and author in the fields of chemistry and computing, Peter retired in 2023 after 36 years as a Minister of local Baptist Churches. He continues to add to his blog and videos of more than a thousand sermons and reflections found at www.pbthomas.com.

Very often changes in life turn out to be much less terrible than we expected. The anticipation is worse than the reality. Sometimes new beginnings bring us joy and satisfaction we would never have known otherwise. Good stories draw readers in to explore new situations and different worlds from the safety of their armchairs and this can help them to face change and to cope whatever may come in their real lives. An exciting tale told well can even inspire people to step out into their own new ventures with courage and hope.

Subscriber News Never miss an issue of Writers’ Narrative

“Very often changes in life turn out to be much less terrible than we expected.”

The question, is how can I talk about the trauma of puppies moving to their new homes when I did not suffer it myself? This is the task of the author

Sign up for our newsletters subscribepage.io/WritersNarrative

47

How to Write: Part 1

Megan Appleton discusses how motivation plays a huge part in our writing and that planning plays an even bigger part.

W

hen you think of a writer, what do you see? A genius from whom wonderful words and ideas flow effortlessly.

Someone who has “the gift”? Someone for whom writing is easy?

Megan Appleton

Let’s stop there, because, as you probably all know (or at least suspect), that idea is a myth.

Rubbish, bunkum, poppycock (although I do apologise to you profusely if you really are that unicorn of literary wonder).

the particular demands of the SQA English curriculum. They’ve all now long passed their exams and are making their own ways in various scientific and other fields, but they sometimes come back to me and thank me for teaching them to write.

I have already revised the two opening paragraphs of this article over 50 times – and will, in all likelihood, change them 400 times more before I conclude. Let’s be real and honest from the start, writing is hard graft.

So where to start? That’s easy – and its not with a keyboard or a pen and paper. It’s in your head.

Please replace the idea of a lonely genius in a garret, words, as if from heaven, flowing from their pen. Substitute instead an entrepreneur or captain of industry - Steve Jobs, Bill Gates, even (gasp) Donald Trump. To write effectively, whether fiction or non-fiction, you need a strategy and you need to be able to plan.

As a teenager, I had a very particular teacher, Mr Ellis. He was merciless. I would write a paragraph; he would send it back – with comments. I would write it again, and again it would come back – with more comments. I would either be crying or raging by this point, but I would do it again, and again, and again... For some weird, probably deeply pathological, reason, it mattered to me he approved. Eventually, it would come back to me a final time, marked “clear as a bell”, and my heart would sing.

When I sit with a young person who is struggling to write, I start by asking them questions – none of which seem connected to writing: What are you interested in?

What do you enjoy?

What makes you enthusiastic?

In later years, I’ve been similarly merciless with my children and the children of friends as they’ve trusted me to help them grapple with

I ask them these things because I want to know 48

what motivates them. Often, when asked to write, a person will say “well, I’d like to but I can’t”, “I’m no good at English”, or even “my teacher says I have to”. So, I ask them what they are good at, what makes them tick. Somehow, I have to find a way to get them over that suffocating sense of “I can’t”.

What’s your story?

What are you desperate to say?

What do you want me (or anyone else reading your story) to know?

What can’t you stay silent about?

By this time, I’m usually wrestling the pen out of someone’s hands because they want to write, but it is still too soon. Instead, I get them to tell me their story or argument (if it is a persuasive essay they are trying to write). I listen and sometimes write notes. I often ask them questions as they go too, especially if I need clarity on something they are saying. I listen attentively until they are finished.

My son always loved board games. Why? Because he was competitive, he wanted to win. He also hated English. So, when I sat alongside him at the kitchen table trying to help, I first had a find a way to make the idea of writing palatable. I could have gone straight in with instruction but, without motivation, it would have been like rolling a stone uphill. In the end, I made it a competition and one he wanted to win.

There is power in this oral story-telling. Often the ideas crystalise as they are verbalised. Blind alleys are backed out of, concepts reframed in the telling. You hear, “what I was meaning to say was…” as they find a more effective way to put across their point.

The good news is that, if you are reading this, you are probably already highly motivated to write.

You may, however, still be bothered by an inner “I can’t”. If that is you, take a moment now and ask yourself the three questions above.

I then retell their story back to them. They correct me, it becomes more refined, more thoughtthrough, more powerful.

What is it that motivates you enough to kick that sense of inadequacy into the long grass?

What will keep you going day after day, revision after revision?

What makes you tick?

Now it is time to pick up a pen. But I’m not asking for a fully-fledged piece – not yet. The next weapon in my armoury is bullet points.

When you know this, it gives you the power to reframe every challenge or obstacle you will come across (and I’ve deliberately used the word “will” here because writing, as I said at the outset, is hard graft). Whether you see yourself as a “a competitor” or just a bone-headed, stubborn terrier (like me) then every “I can’t” can be met with a “but I will”. The competitor may perhaps see bashing that awkward chapter out as winning a race or defeating a particularly gnarly rival at chess; the terrier will just keep going regardless because, well, that’s what terriers do – they don’t let go.

If you like this article and the editor agrees, I may write about what comes next in this odyssey of writing in the next edition. Thank you for listening.

Megan Appleton is a charity bookkeeper. She graduated from Cambridge with an English degree but that was a very long time ago! Since then her experience of writing has mainly been confined to drafting policy documents/guidelines, academic essays, a very small amount of editing and commercial copywriting, and helping young people (her own, and others’) get through their Nat 5 exams. If she is at a loose end, you’ll find her in the garden, renovating furniture or sewing!

Once I’ve worked out what motivates someone, I move onto the next stage and ask more questions: 49

From The Desk Of The Office Dog

February: How To Celebrate Valentine’s Day Sophie, the office dog, with some help from Peter Thomas explores Valentine’s Day and what she thinks makes for the perfect gifts.

Roses are red: Dogs go woof, woof.

The best Valentines are those Covered in fluff.

Sophie

O

ne day in the year is set aside to show the special person in your life just how much you care for them. It should go without saying that for very many lucky people, the object of their greatest affection is their dog.

tume and expect them to be happy to wear it for you. I wouldn’t bother with dressing gowns, socks, ties or slippers but you could consider a fluorescent coat so you don’t lose each other on moonlit strolls.

There are three essential elements for the perfect canine Valentine’s Day. The first is the card.

People spend ages choosing the best picture and the witty sentiment, but nobody really cares about these. All that matters is the perfume and the flavour. Go for beef, or chicken, or salmon, or you can’t go wrong with the old staple, peanut butter. It’s the aroma and the taste that counts.

Then there is the gift. Flowers and houseplants are a waste of money – you can’t eat a bouquet of roses. Posh perfumes and scented candles are just irritating to a spaniel-sized nose. Some people suggest flashy jewellery, but a new collar which lights up in the dark is much better because it shows concern for their safety.

Forget key holders, bottle openers, stationery or books or magazine subscriptions. Don’t think about buying any kind of electronics – if they would not be fussy enough to insist on choosing their own tech then they wouldn’t appreciate your selection of gift. The only exception would be a GPS tracker which shows them how much you would never want to lose them.

Everybody enjoys being pampered with beauty and skincare products, or a grooming kit or a new fur trimmer. Or maybe a comfy blanket or a new bed? Food always goes down well but absolutely do not give your loved one chocolate or attempt to ply them with alcohol. All kinds of tasty treats are available although some people might think that bones are too much a reminder of Saint Valentine the martyr. It doesn’t have to

Items of clothing make a popular gift, but don’t buy them a personalised jumper or a silly cos50

your chosen Valentine is a goldfish or a python – but why would you?

be a fancy meal out. All you really need is love, but a Sausage Sandwich now and then doesn’t hurt.

In any case, I hope you enjoy a great time together.

To celebrate the day you should also plan an exceptional outing. A boat trip or an evening of stargazing could be fun but visiting a zoo or going dancing or ice skating or trampolining would be too silly. Some Valentines would love a spa day but others honestly would not. The same is true for a day of flyball or agility.

Roses are red Dogs like to bark Take the day off And go walk in the park.

Play safe with a gentle romp in the countryside in fields full of bunnies, or through woods abounding in squirrels – anywhere with plenty of nice things to sniff. Or what could be better than running barefoot on the beach in and out of the waves? All combined with snacks at a favourite café. When you get home just snuggle up on the sofa and hang out. For dogs, as for humans, love is just spending time together.

You would both enjoy a movie night: try Homeward Bound, Lady and the Tramp, Cats and Dogs, 101 Dalmatians, Beverly Hills Chihuahua, The Secret Lives of Pets, or Turner and Hooch. Beware that some titles might kill the mood – avoid Wallace and Gromit: the Curse of the Were-Rabbit, Scooby Doo on Zombie Island, and Zoltan, Hound of Dracula.

Peter Thomas and Sophie Rev Peter Thomas has published three non-fiction books and is delighted now to assist Sophie in her creative writing projects. Originally a teacher and author in the fields of chemistry and computing, Peter retired in 2023 after 36 years as a Minister of local Baptist Churches. He continues to add to his blog and videos of more than a thousand sermons and reflections found at www.pbthomas.com.

Finally, you could end the day with a very special treat and allow your beloved to share your bed – much better than leaving them to sleep on their blanket on the kitchen floor like they do every other day.

Our wonderful editor has pointed out to me that some of my suggestions might be capable of being misconstrued. Equalities legislation requires me to make clear that you may wish to choose alternative cards, gifts or outings if for some incomprehensible reason your loved one happened to be a cat, or a rabbit, or a hamster, or a human, rather than a dog.

Never miss an issue of Writers’ Narrative

You should ignore these suggestions altogether if

subscribepage.io/WritersNarrative

Subscriber News

Sign up for our newsletters

51

Spring into Action – Nature Writing

With spring on the horizon, Linda Brown looks at the joys of nature writing.

S

pring, the season of rebirth and renewal, is peeping around the corner. Soon we’ll be enjoying lighter mornings, lighter evenings, and milder, brighter weather. Just the motivation nature writers need to sharpen pencils, grab notebooks, charge up cameras and get outdoors, exploring and researching.

Linda Brown

What do we have to write about over the next few months?

the sweet oniony scent of wild garlic, to the haunting call of the cuckoo.

For starters – March hares and March winds, April showers, and gorgeous may blossom (hawthorn flower). Not forgetting the return of migratory birds, the dawn chorus, bluebells, butterflies, bees, and much more.

Focus on new life and new beginnings: the first buds bursting on the beech, oak, and rowan, the joyous sight and scent of delicate cherry blossom, wild crocuses and wood anemone in bloom, lambs and leverets leaping across fields and, of course, the varied nesting habits of our diverse bird population.

Springtime provides plenty to inspire our work, whether we are journaling, writing articles, creating poetry or giving a sense of place in fiction.

Consider including references to the local or social history of the area you are writing about and highlight any environmental changes – positive or negative.

We can write about the beauty and wildlife of a wide variety of landscapes; forest/woodland, riverbank, meadow, mountain, and coastline.

But don’t despair if you live in a city - nature thrives in urban parks and along canals and rivers. And don’t forget your back garden; it can be a haven for all kinds of wildlife, if you just take time to look.

Good nature writing observes and describes our natural world and explores our relationship to it.

You can draw on your own memories and experiences of the landscape or location, or with the wildlife and fauna, to reflect a personal connection to your work.

What makes an engaging piece of springtime nature writing?

What attracts readers to nature writing?

Capture the colour, smells, and sounds of spring – from the vibrant yellow of wild daffodils, to

If you are planning to write nature blogs and articles, or research and work on a larger project to 52

create a nature book, it’s a good idea first to consider your potential readership and what they will be looking for.

magazines out there.

Two books I would recommend to set you off on your nature ramble are The View From the Hill – Four Seasons in a Walker’s Britain by Christopher Somerville and The Nature of Spring by Jim Crumley.

There are various reasons nature writing appeals to readers. Mainly, they will be seeking interesting facts and will want to learn about the subject or location. But many people read nature writing to be transported to, and immersed into, a landscape they are not always able to access themselves. It is a form of escapism, whisking the reader away from humdrum everyday life and worries.

Both are wonderful, informative, and enchanting reads. You’d almost feel you’d muddied your walking boots alongside the authors. Now that’s excellent nature writing!

Inspirational and dynamic nature writing can arouse an emotional response from readers, initiating feelings of positivity, reassurance, comfort, and can help them de-stress.

Linda Brown is a writer, with a passion for nature, from a small town in East Ayrshire, Scotland. She writes fiction and non-fiction and presently has articles, including nature pieces, published in Ayrshire Magazine

Final Tip Like with all genres and types of writing, it’s recommended you read examples of nature writing yourself before embarking your work, and fortunately, there are lots of wonderful books and

53

A New Insight Heralds A Fresh Start

SC Skillman discusses how new beginnings can also apply to works in progress.

W

SC Skillman

e may imagine the theme ‘New Beginnings’ refers to the act of embarking on a new book; but for me a fresh start has been set in motion by a new insight about my work-in-progress novel, which has been stuck for over a year.

several beta readers) and he asked me the perennial question, ‘What’s it about?’ So I explained the scenario to him, and he said, ‘This sounds to me as if you have too many elements in the story.’ He suggested I consider removing one particular element of it, which he identified along with the hint that I could put it aside for another novel. I immediately said, ‘Oh no! I can’t remove that! That’s the most important thing of all to me! It’s really what this story is about!”

I put my novel aside for several months to concentrate on researching and writing my nonfiction books for history publisher Amberley. But here in the grip of a British winter, it’s less desirable for me to go out visiting and researching places for the book, so this is a perfect time to return to my novel!

You may well wonder why I hadn’t acknowledged that to myself before, but the revelation came in the moment I realised what I’d just said.

I’d been so caught up in juggling all the various aspects and layers of the characters and situations, and all their diverse agendas and emotional stakes, and their relative importance to the story and to each other, I had failed to discern that the ‘setup desire’ of the hero was simply not going to the heart of the matter.

Right now, I feel excited about this alternative approach; not only did I dig out my character bibles and backstories yesterday but then ideas about my hero’s relationships, family background and motivation began flowing, and I had to write them down late last night. I believe this will greatly enrich the characterisation of my hero and strengthen the story.

It all began as I chatted with a fellow member of our local Warwickshire Society of Authors group.

I shared my difficulties with progress on this novel, (even though it has been seen and enjoyed by

I remember fellow author Fran Hill mentioning this as she described her own drafting and editing process; one of her early editorial advisers 54

had responded to her draft by saying they felt she was ‘skirting round the edges’ of the main point of her narrative.

present situation, and whose fateful choices were based upon their own desire at the time to get their personal needs met.

I identify with that. Somehow I had also failed to see I was avoiding the ‘raison d’etre’ of my own story. I had worked so long on this novel, believing in my hero, and loving him, and remaining stuck in one view of him, and yet still feeling that undercurrent of something ‘inherently wrong’.

The great historical novelist Hilary Mantel said, ‘No, history does not repeat itself – but there are resonances.’ It’s those resonances we have to somehow convey in our fictional universe too – and we need to be subtle, compelling, and authentic about it.

The next stage of my insight came after I’d sent the Word file of my novel to my Kindle, according to Fran’s suggestion at the same Society of Authors meeting. I began reading through the novel on my Kindle, and the obvious solution to the dilemma around my hero’s identity suddenly jumped out at me. I began making notes at once.

It was as if I had at last focussed on the one thing that had been hovering at the periphery of my vision for over a year.

This invades the realm of literary creativity as we develop a story: our goal is to ‘suspend the readers’ disbelief’, to totally absorb them in our invented world, the quest of our hero, and the characters the hero meets, so for the time the readers spend reading the book, they are indeed in another world.

The moral of the tale may be this: If you’re stuck, seek the advice of your fellow authors at your local Writers’ Meeting!

Now I’ve seen how essential this one missing element is and have begun looking again at my hero’s backstory and family relationships, who he is and what he’s doing here, I’ve come up with a new way to connect him into that central issue, which will transform my story.

Sheila writes psychological, paranormal and mystery fiction and non-fiction under the pen-name SC Skillman. Her non-fiction books on local history are published by Amberley and include ‘Paranormal Warwickshire’ and ‘Illustrated Tales of Warwickshire’; and ‘A-Z of Warwick’ released in November 2023. Her modern gothic novel is with publishers, and she is working on the sequel. She studied English Literature at Lancaster University, and her first permanent job was as a production secretary with the BBC. Later she lived in Australia before returning to the UK.

In planning a novel we are advised to consider which character has the greatest emotional stakes in what’s going on. This is our hero; the story is theirs.

Here lies the challenge; in real life it can be extremely difficult to determine this, because so often, the parties to the conflict have utterly different and equally powerful emotional stakes in a situation. We can see that only too clearly from current world events.

Subscriber News To nominate your writing group, local library or bookshop to be featured in future issues email

There is always a deeper story, another truth underlying what we are told by the news editors: a backstory which brings in other players from the past, who also hold moral responsibility for the

writersnarrative@gmail.com subject headed for the attention of Editor in Chief

55

SUBMISSION GUIDELINES Writers’ Narrative eMagazine We are interested in submissions on any aspect of writing and publishing and will accept simultaneous submissions. All interviews must be pitched to the Editor in Chief first before doing the interview.

We accept varying lengths of submissions depending on the topic - 500, 1000, 1,500. Book reviews can be shorter but should include a substantial review in addition to the book blurb. Only submit previously unpublished work (either online or in print).

Monthly themes will be promulgated in both the magazine and in the Facebook Group.

Please use Hart’s Rules: The Oxford Style Guide. Light editing will be undertaken. If major editing is required, the article will be returned with general advice on what is required to bring it up to publication standard.

All submissions are to be in Times New Roman or Times, size 12 font, single spaced, with no formatting.

All formatting will be carried out by the editorial team.

The only images which should be submitted with your articles are your author photograph—and book covers if doing a book review. Include a brief bio and author photograph along with your first submission.

Please state the month for which you are submitting your article. However, this may be changed if it is felt it better suits a different issue.

Writers’ Narrative is published monthly. Submission cut off dates: January – 7th November February – 7th December March – 7th January April - 7th February May – 7th March June – 7th April July – 7th May August – 7th June September – 7th July October – 7th August November – 7th September December – 7th October Submissions via email to writersnarrative@gmail.com To nominate your writing group, local library or bookshop to be featured in future issues and for any queries including advertising with us email writersnarrative@gmail.com subject headed for the attention of Editor in Chief 56

While there is a monthly theme and focus, this will not be the only topic for the magazine. General articles can also be submitted for publication.

Themes for 2024 Month

Theme

January

New beginnings – Setting the scene for the year ahead

February

Romance Writing – What else in February

March

Writing for Children – Ties in with World Book Day

April

Editing – Self editing, working with an editor etc.

May

Writing Memoir – It’s National Memoir Month

June

Writing Poetry

July

Writing Non-Fiction

August

Writing Historical Fiction

September

Science Fiction and Fantasy it’s National Science Fiction Month

October

Worldbuilding

November

Writing Cozy Mysteries

December

Writing Habits.

Coming Next Month ….

March 2024 Theme - Writing for Children

Featured Author Book Reviews New releases And much more….

57

58