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The Bristol Short Story Prize

WritingMad

The 2017 Bristol Short Story Prize. Deadline: 3rd May.

Fee: £8

Prizes for 2017 are: 1st prize-£1000, 2nd prize -£700, 3rd prize -£400. Each of the 17 remaining shortlisted writers will receive £100. Winning and shortlisted stories will be included in the 2016 Bristol Short Story Prize Anthology.

Enter your stories of up to 4,000 words on any subject and in any theme. There is no minimum length and both published and non published writers are eligible to enter. Entries must not have been previously published.

Entries are accepted in a Word document, pdf or equivalent. There are no specific formatting requirements – font type, font size, line spacing. Writers may format their work in the way they feel is most appropriate. Postal entries will only be accepted as printed typescripts. Please send postal entry/entries to : Bristol Short Story Prize, Unit 5.16, Paintworks, Bath Road Bristol BS4 3EH. Click here

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Digging Deep for the Second Draft #novel #writing

This next bit’s going to be painful, but it’s my favourite part. I’ve written the first draft of my novel, and am about to embark on my second.

This is when the characters will take shape, but for that to happen, I’m going to have to get into their heads and feel what they’re feeling. Flinging yourself over a six-foot-high wall to save someone’s life? I’m in. Finding out your husband’s told you a huge lie? Yep – here I come.

Switch on FaceTime by mistake in the middle of this draft and I’ll see my own brow knitted, or my lip curled into a snarl. It’s not going to be pretty, but it’s essential.

This is method acting for writers. I’m going to be a 43-year-old woman on the edge of a nervous breakdown, an Italian man who’s a cross between Benicio del Toro and my friend’s husband, and an elderly man paralysed down his left side.

I’m going to have to dig deep. Imagination, yes; a bad mood, most probably; yet another frown line, you bet. And masses of research.

This time around I’ll be rewriting and editing with this word on replay: Emotion. Emotion. Emotion.

Digging Deep for the Second Draft #novelwriting

This next bit’s going to be painful, but it’s my favourite part. I’ve written the first draft of my novel, and am about to embark on my second.

This is when the characters will take shape, but for that to happen, I’m going to have to get into their heads and feel what they’re feeling. Flinging yourself over a six-foot-high wall to save someone’s life? I’m in. Finding out your husband’s told you a huge lie? Yep – here I come.

Switch on FaceTime by mistake in the middle of this draft and I’ll see my own brow knitted, or my lip curled into a snarl. It’s not going to be pretty, but it’s essential.

This is method acting for writers. I’m going to be a 43-year-old woman on the edge of a nervous breakdown, an Italian man who’s a cross between Benicio del Toro and my friend’s husband, and an elderly man paralysed down his left side.

I’m going to have to dig deep. Imagination, yes; a bad mood, most probably; yet another frown line, you bet. And masses of research.

This time around I’ll be rewriting and editing with this word on replay: Emotion. Emotion. Emotion.

Why This Writer Needs Other Writers

I spent the first half of last year being cross at my writing. It had taken me away from people and I was beginning to feel quite isolated.

Then something started to change – my writing began to bring connection, people who I could really hear, people who energised me.

It started when an agent put me in touch with an editor. Yeah, yeah – I know lots of us have been through this, and I was cynical but decided to take a leap of faith and pay for my novel to be edited. It was a wise choice. Editor, Sara Sarre, got my book, was enthusiastic about it. Her wisdom gave me a new spark. Suddenly I felt as if I wasn’t in this alone.

And it was a magical moment in June when literary agent Rowan Lawton signed me. My face hurt, my smile was that wide.

Writing has brought me new friends too. In November, I met up with a group of writers who I knew only through Twitter. I stood outside a restaurant in Covent Garden feeling nervous before I opened the door and sat down to lunch with seven complete strangers. It was one of the highlights of my year. Forget nothing conversations about the weather; here we talked openly about our fears, our hopes, our children. And oh how we laughed.

For a long time, I’d wanted to meet gifted writer Joanna Campbell whose work I admire. In December, I got my chance at the launch of her short story collection When Planets Slip Their Tracks. Her nuggets of wisdom have stayed with me. As has her book – it is so well observed and funny and I am enjoying it immensely.

I’m ending the year feeling grateful to my writing. It’s brought me some special personalities, people who have made my life better with their thoughts and funny asides. I’ll be holed up in the writer’s cave again throughout 2017, but I intend to make regular escapes to talk about it all.

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How to Start Writing a Novel – The First Steps to a First Draft

I’m three weeks into writing my new novel. It had been so long since I wrote a first draft that I’d forgotten just how difficult it is.

For starters, there was blank page syndrome. That sickly feeling when you see your computer lurking on your desk, and all those things you do to avoid sitting in front of it. Gardening in sub-zero temperatures anyone?

My first few paragraphs didn’t have an easy birth, beset by distractions. Copious cups of tea were made. Toast was burnt. And oh, what the hell, just one more look at my emails.

Then, falteringly, somehow I hit 31,000 words. 31,000 rough words that I wouldn’t want anyone to read just yet. But still….

For me – starting is the hardest part. And in starting, it all came back to me. So here are three steps that have kept me on the straight and narrow and stopped me staring aimlessly into space.

Step One: Make a Plan then Make Another One

I scribbled a rough plan of the whole book before I started to write. Once I’d started, the story began to take its own shape, so I tore up my plan and wrote a new one, detailing the dramatic peaks of the story and the development of my characters. If I was an organised kind of person, I’d pin this new plan to the wall, but every time I start writing again, there’s a snowstorm of papers as I riffle through the mounds to find it. (Note to self – buy some Blu Tack.

Step Two: Research then Research Some More

I did a lot of research before I started to write -newspaper cuttings, lectures, speaking to an in-the-know friend. And I’ve punctuated my writing with doing yet more research. Reading about the subject at the centre  of my novel is helping to make the writing more authentic. It informs character development and sets off new ideas too.

Step Three: Write one Character at a Time then Rewrite and Repeat

My novel has two points of view, so I’ve started by writing one character in her entirety. That way, I might get more of a handle on her essence, on how she reacts to things, the way she speaks. She started off as a Victoria, transformed into a Kate and now she’s someone else entirely. Once I’ve finished writing her, I’ll rewrite her all over again hopefully turning her into a really strong character. Next it’ll be over to my second character. After that, I’ll start piecing their narratives together and work on pace.

Right, I’m going back in…..

 

5 Things to Know about Writing your First Draft

‘You’re an old hand.’
‘You must know what you’re doing by now.’
These are just two of the things my friends have cajoled me with this week while I’ve done everything in my power (and some things that were beyond my power – let’s not mention unscrewing the U-bend of that blocked sink) to avoid starting the first draft of my next novel.

You see, it’s been a while since I faced the dreaded blank page. Back in December 2010, I started typing my first novel only to get lost in a crowd of superfluous characters. Then there was that literary flirtation with the love story in 2014 (the one with the unmentionably pretentious title – breaks off here to delete all blog post references to it). And last year I began the first draft of my third book, The Maid’s Room, which, aided by a detailed plan, flowed well.

This next manuscript will be my fourth novel and I have to confess I’m a bit scared. To quell my concerns I’m reverting to what works best for me, writing a detailed plan on a piece of A3 paper. At the top of it, I’ve scrawled DRIVE and INTRIGUE and CHARACTER ARCS inside helpful squiggly clouds to urge me to stay on course. And yesterday was a good day, I finished with 3,074 words.

Whether you’re taking part in National Novel Writing Month or going it alone, here are some first draft nuggets to remind you (and me) how it’s done.

Don’t stress about the future. If you’ve done this novel writing malarkey before, chances are you’re inhibited by what lies ahead. The agent rejections. Will this ever get published? It all comes tumbling in, so that you might end up shutting down your blank page and looking at Facebook instead. Well, don’t. Stop thinking big. Just plonk yourself in front of the computer and type. I’m aiming for 1,000 words a day. But if you’re taking part in National Novel Writing Month, you’ll be going 1,000 better than me. 2,000, ladies and gentlemen.
Do write rubbish. The first draft can’t be anything else, can it? You don’t know your cast of characters yet. They’ll probably be acting in a way that will end up contrary to their later, more fully-formed selves. And the voices might be clunky. Just keep on tapping those keys though and the characters should eventually start to take shape.
Don’t go back and edit. Not too much anyway. Let me just mention my pretentious novel again here. I ended up with 70,000 words that might have been coiffured and polished to the max, but that didn’t stop them causing a catatonic state in one of my liveliest friends. I’d wasted so much time titivating along the way that I hadn’t seen the glaringly obvious; the book was drivel. This time I’m going to leave the editing to the end. This draft isn’t about perfection after all; it’s about making it up the mountain.
Do turn up. Tidy your desk. Pop a couple of inspirational books on top of it, so you can read some pages to spur you on. My chosen one is Letters to the Lost by Iona Grey. I’m not writing a love story, but reading Grey’s flowing and immersive narrative puts me in the right mood. Make a deal with yourself not to get distracted. I try to write for an hour before I allow myself to get up and make a cup of tea. I became absorbed in writing The Maid’s Room – I’d get up early and write late into the night. The more you write, the more you want to write, and the better the writing gets.
Don’t isolate yourself completely. Because a) you’ll develop twitchy eye syndrome, and b) you’ll stop writing well. Go to the party. Attend that book launch. Listen to your friends talk their hearts out. Seeing people will energise you and make your characters sing. You might even find a new subplot.

Right, I’m going in again. Are you?

The Bristol Prize Awards Ceremony 2016 – Here’s What Happened

The reading room at Bristol Central Library was packed with people when acclaimed short story writer Tania Hershman announced the winner of this year’s Bristol Prize.

Writer Stefanie Seddon stepped out from the audience to take her £1,000 prize, her face pale with shock. The moment she took the mic and started reading her story Kākahu, it was clear what a talent she is. I was among the runners-up in the front row who got to hear just a few paragraphs of Stefanie’s story, including the killer first line: ‘There are lots of ways to remember that day; the day I became a bird’. I’d say everyone in the room will read her story to the end though. I have and, oh, it’s a gem.

Afterwards photographs were taken, much wine was drunk and lots of people stood around talking.

‘Congratulations!’

‘Well done!’

‘Congratulations!’

Nobody was quite sure – apart from competition organiser Joe Melia that is – which 20 faces had their work in the anthology, so partygoers scattergunned congratulations. ‘Oh, no, not me, I’m not in the anthology,’ was said more than once.

According to one of the early readers, there were a lot of stories about birds in her pile this year. And there must have been a lot of piles since more than 2,000 people entered.

The room was furnished with some of those people. I recognised several from the supportive network of writers on Twitter.

We laughed, we enthused about writing, we even signed a few books. But when the room started to thin out, and the wine bottles had been drunk dry, it was time to say my goodbyes. I felt a bit sad because I’m pretty sure I won’t enter next year. After three shortlistings, it seems the right place to stop. For now at least. I’d like to focus on trying to write my next novel.

Since 2014, the Bristol Prize has been beside me through the ups and downs of this business called writing. The business where sometimes you think you can’t do it anymore, the business which is populated by more nos than yeses.

I was signed by former Bristol Prize judge, literary agent Rowan Lawton in June this year, so I’m really pleased I persevered with my writing. My Bristol Prize shortlistings encouraged me to do just that.

Getting into the Bristol Prize long and shortlist is hard. You need a strong dose of luck to match your good writing. But at 8 quid an entry, it’s definitely worth a punt, don’t you think?

Get hold of this year’s  anthology to see what makes a winning story, and pens at the ready, entries for 2017 open later this month. #KeepWriting

Bristol Short Story Prize 2016, Bristol Central Library. ©Barbara Evripidou2016

6 Reasons Why I Stop Reading Novels

I give up on books if they’re too hardgoing. There was a time when I’d persevere. I did an English Literature degree and wouldn’t have got through Tristram Shandy or Ulysses without a bucketload of stoicism. But now I’m done with difficult.

My most recent read is a bestseller; copies of it are piled on tables all over Waterstones, and this is the worst part, someone recommended it to me – always a guilt inducer that, but 150 pages into it, I’m bailing out.

I have a short attention span. I’m easily bored. If a television series doesn’t suck me in from the get-go, I switch off. Conversations about the weather make me zone out, and as for books – there’s a pile of them that I’m taking to the local charity bookshop because they just didn’t do it for me. Page 150 is my benchmark. If nothing’s happened by then, count me gone.

Reading is an intensely personal thing, of course. One of my favourite authors, for instance, five-starred my latest abandoned read on Goodreads. And a close author friend of mine couldn’t stand one of my favourite books. But as I start writing another novel, I wanted to figure out why I give up reading certain books.

So here they are – six reasons why I end up a quitter

1 Lack of action

I need something to happen. Don’t get me wrong, I love patient books like Stoner, but if the book meanders without any sense of purpose, to me it’s the equivalent of downing a couple of diazepam – except that’d probably be slightly more enjoyable. Slow books make me grumpy. They make me say things like, ‘Christ, why won’t somebody die or something?’ If there’s no action, for the sake of my sanity, I just have to give up.

2 Dull characters

The most memorable books are ones with emotionally deep characters. I’m name dropping Olive Kitteridge all over the place at the moment. What a woman. I want to connect with a character. I don’t necessarily need to like her, but I do need to understand her. And if she or he makes me groan with boredom, well, it’s time to call it a day.

3 Outlandish plot

Weird shit happens, doesn’t it? Life is full of coincidences/ gifts from the gods – and I do like to stretch my imagination, but ask me to stretch it too far and my elastic tends to break. That’s probably why I’m not a massive fan of psychological thrillers, but then that’s just me. I like a fantastic story with a hint of truth to it.

4 Too many characters

When there’s a cast of characters so big that I have to jot them all down on a piece of paper, they quite often get diluted and dull because of it. A smaller cast with more emotional depth and I’m one happy page-turner.

5 Lacklustre voice

Sometimes I just don’t connect with the voice. Perhaps I find it a bit old-fashioned or riddled with cliche or maybe it’s trying to be too clever for its own good. Sometimes it’s chemistry – a voice just doesn’t jive with me.

6 Tension vacuum

I like a book with mood, a beautiful bit of description so we are know where we’re at (but not too much description or I’ll Zzzzzzz). Simplicity is key to begin with, a steady thickening of the plot. Oh, and make sure I know that the stakes are high, give me the sense that something’s at risk and I’ll stick around.

So 4,000 words into writing my new novel and I’m remembering just what a huge ask all of this is. But I’m up for the challenge. (Gets out INTO the Woods – How Stories Work and Why We Tell Them by John Yorke and furrows brow……

(Image courtesy of Unsplash)

10 Tips to Nail your First Chapter #writing

First chapters count for a lot. Bookshop browsers may start by reading the blurb, but the chances are they’ll dip into the first chapter to see whether they like the writing style. And with book openers available to read on Amazon, your first chapter really needs to impress. That goes for unagented authors too – the submissions package usually involves sending in the first three chapters, so a stunning opener is vital. Here are 10 ideas to make your first chapter sing.
1. Start in the Right Place

Don’t start too early into your story – we don’t want ten meandering chapters of description. Draw your reader in from the beginning with a powerful tipping incident, some terrible dilemma or temptation. If you have a suspicion your novel isn’t quite working, ask yourself this: are you starting in the right place?

2. Introduce Conflict

Conflict can be exciting, and it’s always engaging. Inject conflict into your first chapter and readers won’t be able to resist your work. Joanna Barnard’s Precocious had than effect on me – a married young woman bumps into the teacher she had an affair with when she was a school girl. The same goes for Glorious Heresies by Lisa McInerney. The mother of a gangster accidentally kills an intruder with a religious ornament. Let me at it!

3. Add Mystery

Throw in some question marks and you’ll get your reader turning the pages to find out what the hell is going on. After all, everyone loves a mystery. Why is your character lying to her husband about where she’s going tonight for instance? What is in that letter marked to be opened only in the event of my death. (The Husband’s Secret) by Liane Moriarty). Mystery rocks however subtle it is.

4. Make the Reader Care about your Characters

Does your character go around killing drug dealers? Does she rescue refugees from overcrowded camps? Is she battling anxiety, but climbs on to stage most nights to do her stand up comedian routine anyway? Make your reader root for your character. Make her quest a major one, invite your reader in for the ride and make her stay for the long haul.

5. Treat it Like a Writing Competition Entry

Edit and then edit some more. Get rid of all your saggy bits. This chapter mustn’t go on for a beat too long, so get busy red-penning. Come back to it at intervals and reread. Kill some more darlings if you have too. Perfect it until you reckon it’s good enough to win a writing competition.

6. Make Your Writing Brilliant

Your writing should pack several punches here. Make it confident, avoid cliche and beautify. Don’t freak out if it’s hitting a few bum notes to start with – go over it, tighten it, change it up.

7. Include Dialogue

Give your characters a voice. Making them speak tells your reader a lot about their personalities, and dialogue is super easy to read. Reams of prose on a page can be off-putting, but put some dialogue in, and the text looks as if it’s going to give you space to breathe.

8. Banish Backstory

Don’t give us 1,000 words on how your character was brought up in the suburbs of London and was bullied at school. Zzzzzzzzz. We want immediacy. Back story comes later in your book.

9. Show your Theme

Your theme should be evident somewhere in this first chapter: grief; a haunting; motherhood; the pursuit of joy. And don’t forget mood either. What do you want your reader to feel – is it a funny book with a huge moral centre? Is it glossy and feel-good? What kind of writer are you? Let your reader know.

10. Write a Killer First Line

For a reader, a killer first line is like an itch; you can’t ignore it. It might be an odd idea, a question or a weird situation.

The first line of Claire Fuller’s forthcoming Swimming Lessons, ‘Gil Coleman looked down from the window and saw his dead wife standing on the pavement below,’ makes me want to buy it as soon as it’s published in January 2017. And I just knew I was going to love The Other Me by Saskia Sarginson when I read the opening line, ‘I have no experience of killing anything.’ Sometimes it’s simpler though: a quiet line of beauty which gives such a strong sense of mood, it makes me want to keep reading.

I wrote this post after spending a lot of time re-editing the first chapter of my novel. It had got a bit loose around the edges, so the action took too long to start. I’ve tidied and titivated and slashed out superfluous words. My first chapter has gone under the knife more than any other part of my book. #KeepWriting.

4 Tips to Create Powerful Voices for your Characters

It doesn’t matter what you’re writing, a short or a full-length novel, voice is the lifeblood of your work. You might have all the elements of a great story – a dazzling twist, an arc to rival a rainbow – but if you haven’t got a voice that mesmerises, your story will be drowned out by dull.

I’m reading  Glorious Heresies at the moment – and the riotous voice is fair shaking me up and demanding I listen. It’s pushed me right into the mess that’s Maureen clobbering some bloke over the head with a holy stone and killing him.

A week ago, I polished off Elizabeth Strout’s Olive Kitteridge. The voice of the flawed yet deeply loveable Olive is so believable, so sturdy that my race to read was slowed only by me underlining far too many sentences.

Mind you, just thinking about books like these can be really daunting while your characters-in-the-making are as quiet as the tele with the sound turned down.

Voice is hugely important, says writer Joanna Campbell. ‘If the theme is the hinge and the plot is the oil keeping it in smooth motion, it is the “voice” which opens the door.’

When writing, Joanna lets the character call the shots and write the story for her. ‘I never plan ahead anymore or work out a plot. On the occasions I have tried to do so, the story has rarely succeeded.’

But how the heck do you find your character’s voice? Here are four tips to jumpstart your search.

1. Scribble some character details

Get yourself started by writing stream of consciousness details about your character. Is she a good sleeper? How does she take her tea? What’s the most embarrassing thing that’s ever happened to her? Whose calls does she ignore? What gets on her nerves most? You’re getting closer…. Now off that mute button and have a stab at making her speak.

2. Do some research

That voice is playing silly devils and isn’t arriving on the page? Do some research around your story. So it’s about a woman who finds out she was snatched from her birth mother while still a baby -assemble some comparable real-life stories. Reading them might just coax your character into conversation.

3. Start typing and see what happens

Does the voice sound real and right to you? If not, regroup and try again. Words aren’t wasted, they just bring you closer to the characters waiting in the wings of your mind. Writing’s full of false starts after all. When I wrote my Bristol Prize story Black Lines about a Honduran boy crossing the US/Mexico border, I originally wrote my first page as a gay male teenager. 500 words in, it became apparent to me, the lad needed to be a lot younger. I started writing again and this time he spoke right into my typing fingers.

4. Shift the perspective

I’d been having a love affair with first person for years. Working as a writer for women’s weekly mags, I’d interview people with all manner of stories and write them up in first person. God, how I loved it. What I didn’t love so much was reading it back to the interviewees. The woman who’d answered yes and no to most of my questions read like Homerton’s answer to Barbara blooming Cartland. But still, first person and me, we prevailed. It’s always my first port of call with short stories. And then my novel happened. First person was trapping me in the characters’ heads; I’d ended up using their thoughts to steer the reader instead of showing action and writing dialogue. Rewriting the whole thing in third person has made the novel punchier and more powerful.

I’ve been playing a long game of hide and seek with the voices of the characters in my novel, but at last I’ve found them. And now it’s time to start creating another cast for my new novel; back to step 3 then…..