Category Archives: Writing

SISTER SCRIBES: KIRSTEN HESKETH ON REALISING YOU’RE A REAL WRITER

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Much is written about imposter syndrome. When someone asks me what I do, I sometimes stumble over the word ‘writer’ and often followed it with a little self-deprecating giggle or downplay it by saying ‘I’ve only had one book published though.’ And I know I’m not alone.  Most writers I know seem to suffer from it – there are countless Facebook and twitter threads devoted not feeling like a ‘proper writer’ and many times I’ve been at lunch or away with lovely writer friends realise we are all self-deprecating for Britain.

Well, this week something happened which made me realise that nowadays I am very much a ‘proper writer’.

The first blog post I ever wrote was for my lovely friend and fellow Sister Scribe Susanna Bavin’s wonderful blog. This was when I was very much in the querying trenches and getting an agent, let alone a publishing deal, was just a twinkle in my eye and Susanna was kind enough host me for a series of musings on my embryonic writing life. I can remember the gist – if not the words – of the first post I wrote as if it was yesterday. My then-teenage son was having some problems and I explained how difficult, how wrong, how self-indulgent it felt to be ploughing on with polishing my turd of a draft when he was struggling. And, even if I did decide to press on, my creative juices and my writing mojo had totally deserted me, so there was little point in showing up the keyboard anyway.

I didn’t write anything for week. Maybe even months. And it was only when my son was back on an even keel that I could finish editing Another Us and start submitting it to agents.

Fast forward four years and everything is different.

I have an agent. I have two publishing deals. Another Us was published in ebook in May and the paperback is out on 20th August (do all rush!!) Reader, my writing dreams came true!

And, this week, the Hesketh household is once again in turmoil. My daughter needs an operation in the middle of the global pandemic and the whole family needs to shield beforehand. (Sad that we need to shield during my son’s 21st and miss our first break away in months, but needs must.) At the moment, it’s all hands on deck sorting out food deliveries and prescription pick-ups and everything else that needs to be done before we hunker down.

This time it is different though. My edits for Book Two are due back with the publisher at the beginning of August which, as I write, is – gulp! – three days away. But this time there is no deciding my writing mojo has deserted me or that my creative juices have decided to go on holiday instead of me. There’s no deciding to do nothing for a couple of months. The edits have to be done. I can – I have to – work fast and efficiently so that I can get them done to the best of my ability – and still be there for my family.

It all feels totally different.

To be fair, I’m sure my lovely editor would be absolutely fine if I was to ask for another week or two to finish the edits. A lot of the pressure to meet the deadline is coming from myself.

But the different to four years ago is stark.

And, in some ways, it reminds me how far I’ve come.

I’m a writer.

 

How Women Live with Fear and ‘Don’t Turn Around’ by Jessica Barry

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Melissa Pimentel - Random House, author, writer, How Women live with fear and ‘Don’t Turn Around’ by ,Jessica BarryHow Women live with fear and ‘Don’t Turn Around’ by Jessica Barry – published by Harvill Secker at £12.99

I wanted to explore the female-specific relationship to fear in my new novel, Don’t Turn Around. The novel opens with Cait and Rebecca driving through the night on a deserted road. Their destination is unknown. Out of the darkness, a pair of headlights appear, intent on destruction. The two women – who, up until that night, were strangers to each other – are forced to dig into their pasts to understand who might want to kill them. 

The answer, as most women know, is not straightforward.

Is it someone from their past? Their present? Is it a complete stranger with a thirst for blood? 

Cait has experienced the full terror of online abuse first-hand. An article she wrote about a bad date was met with vitriol, and she became a figure of hate on ‘men’s rights’ chatrooms. She receives death threats from total strangers. Worse still, her home address was published on the internet without her consent, so anyone who wanted to make good on those threats can find her. Is it possible that an online troll has finally tracked her down in the flesh?

Rebecca is the wife of a prominent politician in conservative Texas. She’s spent years playing the happy campaign life, but now she finds herself in a desperate situation. Her husband has turned against her, and there’s no one she can trust to get her across the Texas state line. She has to rely on a stranger – Cait – to shepherd her to safety. But there’s no guarantee that her husband hasn’t had her followed.

What about the man at the diner who stared at them so openly? Or that strange man at the gas station? Danger lurks around every corner. The world bristles with possible menace. 

Every day, women live with fear. It’s a low-level constant, familiar as breath. We mitigate it, negotiate with it, rationalize it. We make thousands of tiny calculations and calibrations on its behalf. Is that man following me? Should I turn around and face him, or should I run? Will my shoes let me run fast enough, or should I take them off? If I scream, will it scare him? Or will it just make him angry? Is there anyone around who would hear me?

For women, the potential for danger is everywhere. Walking through an empty parking lot at night. Going for a run. Sitting alone at a bar, or in a park, and a stranger approaching you. A guy standing a little too close behind you in line at the grocery story. The car that followed you ten blocks, horn blaring, because the driver thought you cut him off.  The moment you post on social media expressing a political preference, or a divisive idea, or critique. The sickening drop a few minutes later, when the first commentator calls you a bitch.

The statistics speak for themselves. Over half of women in the US have experienced physical violence. A quarter have experienced physical or sexual assault at the hands of an intimate partner. One in five women are raped in their lifetime. One in six women are stalked. 

Things aren’t much rosier in the digital world. One study found that seventy-two percent of online harassment victims are women. Individuals using female-skewing usernames are sent threatening or explicit content twenty-five times more often than those with male-skewing or ambiguous usernames. Close to two-thirds of female journalists have been threatened, intimidated, harassed or been subject to sexist abuse online. 

Of course, men are also the victims of violence and harassment: I’m not pretending otherwise. But I think that that women view the world through a specific lens coloured by the constant potential for danger. 

Ask a man what precautions he takes before going out for a run in the morning and you’ll likely be met with a confused look. Ask a woman and she’ll tell you about pre-planned routes and high-traffic areas and the importance of keeping your headphones at a low volume so you can hear someone coming up behind you. These seemingly-minor decisions shape how we move through the world. 

To live as a woman in this world, the question isn’t so much ‘What if something happens’ but ‘When? Where? How? Who?’ And the answers are ‘Anytime. Anywhere. Anyway. Anyone.’ 

Anyone could be behind that pair of headlights. Anyone could be waiting for us around a darkened corner, waiting to strike.

So far, so dark: I know. But there’s a silver lining in all this, and that’s the way that this fear bonds women together and, in a way, it’s what makes us who we are. You know that old cliché, ‘feel the fear and do it anyway’? That’s a way of life for us. Those mental calculations make us sharper. Those keys clutched between fingers make us tougher. Those close calls and rough scrapes and stories of survival make us stronger.

In order to survive their night on the road and make it to safety, Cait and Rebecca will have to work together. They’ll have to draw deeply from their experiences and from their personal strengths, and above all, they’ll have to learn to trust each other. 

Lucky for them, they’ve had a lot of practice at the art of survival. 

JEAN FULLERTON ON THE RNA’S CHAPTER AND VERSE

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I joined the Romantic Novelists’ Association way back in 2003 as part of the New Writers’ Scheme. I was so grateful for all the help, support and friendship I received from RNA members over the past seventeen years, I promised myself that when I no longer had a day-job, I would join the committee.

That opportunity came five years ago when I was able to wave goodbye to my job as a University lecturer and become a full-time writer.

When the committee was restructured last year, I took on the role of Educational Officer, and one area which I’m very hands-on with is the RNA chapters.

When I joined the Romantic Novelists’ Association over a decade ago, some of the first real writers I met were members of the London and South East Chapter.  I was a burbling newbie, but everyone welcomed me. They walked the stony path to publication alongside me and I now count them as close friends.

Although the RNA can appear to be all champagne, high heels and glitzy London parties the organisation’s bedrock is the 20+ chapters up and down the country. It is there that new and not so new writers can find support, encouragement, and friendships.

I felt so strongly about this that ten years ago I took on the role of Chapter liaison. Well, when I say took on the role, what I actually mean is I muscled my way into the then committee and said I  thought there needed to be someone to link with the chapters and I was willing to take on the role.

I liaise with chapters about events or workshops they might be planning, and the allocation of the Committee Annual Educational grant. I also introduce new members to their local chapter and assist anyone wanting to set up a new chapter; be that a physical, online or special interest chapters such as the Rainbow Chapter for writers who write or who are interested in LBGTQIA+ romance. I also, in conjunction with Liam, the RNA’s Diversity and Inclusion Officer, developed the chapter guidelines.

When I became chapter liaison I lived in East London so as I was just a hop, skip and a jump from most of the mainline stations in London, I set about visiting as many chapters as I could. If I made an early start, I could reach most of them in a day even the North West Chapter who meet in Southport.

Sadly, as I now live an hour outside London that is no longer possible, but I keep in regular touch with the chapters via email. And since all chapter meetings have been cancelled due to the Covid lock down, increasingly via Zoom.

Being a writer is a lonely profession, just you, your head and the computer most of the time but we need other writers. Unlike non-writing friends and loved ones when you explain to a fellow writer the problem you’re having with your heroine or plot line their eyes don’t glaze over.

In conclusion, although under the RNA umbrella, our chapters are open to RNA members and non-members alike. Therefore if any writers out there would like to find out more about an RNA Chapter near you then please email me on jeanfullerton@romanticnovelistassociation.org and I’ll point you in the right direction.  For more information about the RNA please visit www.romanticnovelistsassociation.org

Bio: Jean was born and bred in East London where her fifteen novels are set. She is a retired nurse and university lecturer. Jean is currently writing the final book in her Ration Book Series.  In addition, she leads writing workshop and is a regular speaker at WIs, U3As and cruise ships.

www.jeanfullerton.com

RNA announces contenders for 2020 Joan Hessayon Award

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The Romantic Novelists’ Association (RNA) has announced the 2020 line-up for its prestigious Joan Hessayon Award for new writers.

The contenders for this award are all authors whose debut novels have been accepted for publication after passing through the Romantic Novelists’ Association New Writers’ Scheme. Each year 300 places are offered to unpublished writers in the romantic fiction genre. As part of the scheme, they can submit a complete manuscript for critique by one of the Association’s published authors as well as attend RNA events which offer opportunities to meet and network with publishers, agents and other published authors.

This year’s debuts show the wide range of stories encompassed by the romance genre, from the ever-popular romantic comedies, to fairy tale romance, romantic suspense, historical stories and paranormal thrills. From the house just down the street to the sun-soaked beaches of Italy and that different world that is the past, these books deal with themes we all recognise and hold close to our hearts.

Commenting on the contenders for 2020, Alison May, RNA Chair, said, ‘The New Writers’ Scheme is at the heart of the RNA’s commitment to nurturing romantic authorship and the celebration of the Joan Hessayon shortlist is a highlight in the Association’s year. This year has been different for so many reasons, but we’re still delighted for all these debut novelists and excited to announce our Diamond Joan Hessayon Award winner in this, our 60th Anniversary year.’

Imogen Howson, RNA Vice Chair, who previously co-ordinated the New Writers’ Scheme, commented, ‘In the midst of uncertain times, it’s immensely encouraging to see a record number of contenders this year for the Joan Hessayon Award. It speaks so well, not only of the hard work and talent of the authors themselves, but of the continuing health of the publishing industry.’

The Award will be announced on 5th September 2020 in an online presentation.

The Joan Hessayon Award is generously sponsored by gardening expert Dr. David Hessayon OBE, in honour of his late wife, Joan, who was a longstanding member of the RNA and a great supporter of its New Writers’ Scheme.

The full list of contenders for 2020 is:

Zoe Allison, Impervious, Totally Bound

Jan Baynham, Her Mother’s Secret, Ruby Fiction

Laura Bambrey, The Beginner’s Guide to Loneliness, Simon & Schuster

Victoria Garland, Finding Prince Charming, DC Thompson

Rosemary Goodacre, Until We Meet Again, Hera

Annette Hannah, Wedding Bells at the Signal Box Cafe, Orion Dash

Stephanie Harte, Risking It All, Aria

Stefania Hartley, Sun, Stars and Limoncello, Totally Bound

Kirsten Hesketh, Another Us, Canelo

Sharon Ibbotson, The Marked Lord, Choc Lit

Emma Jackson, A Mistletoe Miracle, Orion Dash

Lynn Johnson, The Girl from the Workhouse, Hera

Nina Kaye, The Gin Lover’s Guide to Dating, Orion Dash

Lucy Keeling, Make it up to you, Choc Lit

Ruth Kvarnström-Jones, Halleholm – Lovisas Choice, Printz Publishing

Mairibeth MacMillan, The Viking’s Cursed Bride, Tirgearr

Melissa Oliver, The Rebel Heiress and the Knight, Mills and Boon Historical

Maggie Richell-Davies, The Servant, Sharpe Books

Jacqueline Rohen, How to Marry Your Husband, Arrow

Kathleen Whyman, Wife Support System, Hera

Fiona Woodifield, The Jane Austen Dating Agency, Bloodhound Books

The New Writers’ Scheme has been run by the RNA since 1962 and is unique among professional writing associations. It aims to encourage fresh talent in the writing of romantic novels that reflect all aspects of love and life, contemporary or historical.

Manuscripts submitted under the scheme are from unpublished authors and are read by an experienced writer or editor who provides invaluable feedback. Any manuscript that is subsequently published as a debut novel is eligible for the Joan Hessayon Award. All eligible books are judged by a panel of experienced RNA members who are already published authors, and this year the final round judges are Rhoda Baxter, Author and Chair of Authors North, and Thorne Ryan from Hodder and Stoughton.

SISTER SCRIBES: SUSANNA BAVIN ON A WORD WRITERS SHOULD USE FREELY

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I say, I say, I say…

When you were at school, were you taught to avoid using ‘said’ in your writing? Were you told it was dull? Were you instructed to use other, better words? Let me explain why teachers try to get you to do that. It isn’t because there’s anything wrong with ‘said’. It’s because teachers have to teach children from a young age (a) to use a variety of vocabulary and (b) to find words that convey precise meaning. ‘Strolled’, ‘wandered’, ‘hurried’ or ‘marched’, as opposed to ‘walked’ – that kind of thing. If you think about it, that’s quite a tall order, especially with infant school children.

And so we come to the first reason why ‘said’ is a wonderful word. It has umpteen alternatives, all of which convey precise meaning. Children are already familiar with many of these words and find them easy to use, which means that when they write their stories, they have ample opportunity to use and develop their new skill and hence their stories are filled with characters asking, answering, replying, exclaiming, whispering, shouting and so on.

And that is why teachers tell you not to use ‘said’. Ta da!

In the world of adult writing, it’s different, because – and here we come to the second reason why I believe ‘said’ is a wonderful word – ‘said’ is invisible. You could read it or write it a dozen times on every single page without its ever jarring. Every time an alternative is used, it isn’t invisible. There’s nothing wrong with that – in moderation. But the more times alternatives are used, and the wider their variety, the more visible they become.

I’m thinking of a novel I read some years ago in which the author seemed determined to avoid ‘said’ at all costs. The characters did all the usual things – they asked, answered, replied and exclaimed. They also did more ‘visible’ things – they wondered, whispered, chuckled and muttered. They shouted, snorted, cajoled and observed. They mentioned, uttered, declared and ranted. And it was all highly visible. Every single one of those verbs (which would have thrilled any primary school teacher – I speak as a former infant school teacher) was visible and the more of them there were, the more visible they became. For ‘more visible,’ read ‘more annoying.’

Then, in the middle of an argument, the heroine riposted.

After 200 pages of confirming, suggesting, murmuring and giggling, it was the final, pretentious straw. I didn’t know whether to laugh out loud or groan in anguish. I closed the book and never went back to it.

Sorry about my little rant, but I hope it’s helped to illustrate my point. Humble, under-rated ‘said’ is a dependable workhorse of a word. Use it freely and don’t let anybody put you off.

And unless you want me to come back and haunt you, please don’t ever let your characters do any riposting.

 

My Writing Process Sheila O’Flanagan

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The Women Who Ran Away by Sheila O’Flanagan is published 16th July 2020 (Headline Review, £18.99). 

Sheila O'Flanagan author imageI’ve always loved reading and used to write sequels to Enid Blyton stories when I was young because I always wanted to know what happened next. Everyone thought I’d end up, if not a novelist, at least working in a library or a bookshop. However I was offered job in a bank and got side-tracked into the world of finance. I occasionally wrote short stories in the evenings as a way of unwinding but I didn’t think I had the time to write a novel, even though I had lots of different ideas and would think about my various characters whenever I wasn’t working. Eventually I realised that if I wanted to fulfil my dream of being a published author I’d have to make the time to write – unfortunately the ideas don’t magically appear on the page. So I bought myself a laptop, opened a Word document, typed Chapter 1 and wrote every evening until it was finished. I’ve kept going ever since.

2. What you have written, past and present.

My first novel, Dreaming of a Stranger, was published in 1997. I’ve written 25 novels for adults, 3 collections of short stories, 2 children’s books and contributed to both the Quick Reads and Open Door series of short novellas.

3. What you are promoting now.
My latest book is The Women Who Ran Away and is about two women, Grace and Deira, who meet on a car ferry from Ireland to France. Both have reasons for travelling alone but a sudden change of circumstance mean that they end up driving together. As a friendship forms between them, Deira helps Grace try to solve a complicated mystery that her late husband has left her. This takes them on a spectacular journey along the French Atlantic coast and through the heart of Spain to Cartagena on the Mediterranean sea. By the end of the novel they’ve completed both a physical and an emotional journey as they discover that sharing their secrets turns out to be a strength and not a weakness, and that there’s always more than one solution to a problem.

4. A bit about your process of writing.

I try to write every day but that’s not always possible. I generally work for a couple of hours in the morning, then take a break and return for some more writing in the afternoon. I move backwards and forwards through the novel, writing a few chapters and then editing them before moving on.

5. Do you plan or just write?

I wish I was an author who planned! But I can’t. I start at the beginning with a vague idea and just hope for the best.

6. What about word count?

I don’t get hung up on a daily word count, especially at the start of the novel, but I try to write in scenes. If I finish a scene I’ll take a break before moving to the next one. That means sometimes writing a few hundred words, sometimes significantly more.

7. How do you do your structure?

Badly, to be honest. But the process of writing, then editing, writing, then editing helps. I usually come up with a slightly more formal plan about a third of the way through the novel when I have a better idea of the characters and how to move them through the story.

8. What do you find hard about writing?

Sitting at the laptop. It’s physically demanding even though you don’t realise it. Most of my author friends have bad backs and I’m no exception. I try to take more mini-breaks now. Distractions are more of a problem these days than they used to be with social media getting in the way. I’m more easily distracted now than before.

9. What do you love about writing?

Creating characters, seeing them grow and evolve and take control of their own stories. Sometimes the research is good too!

10. Advice for other writers?

Don’t get hung up on trying to write for a genre, or following weird rules about how your book should be structured. Write the story that’s inside you in the way that suits you best. Do remember, though, that while joining various groups about writing and following them on social media can make you feel less alone, the only thing that will get your book written is sitting down and writing it. Talking about writing isn’t actually writing. Reading about writing isn’t writing. The only person who can write your book is you.

Sheila is @sheilaoflanagan on Twitter and follow Headline too @headlinepg

SISTER SCRIBES: JANE CABLE ON A VERY PERSONAL TRIBUTE

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The morning my mother died she asked me to tell her about the next book I would write. I said I had an idea about an archaeologist alone under Lincolnshire’s vast skies and she approved. True, the outline was a little different then, but Rachel and her story still caught her imagination.

It seemed only right, then, to include a character based on my mother in Endless Skies; an intelligent, perceptive octogenarian with a keen interest in people and a huge sense of fun. I called her Esther, the name on my grandmother’s birth certificate that she never used.

Even Esther’s physical attributes were the same as my mum’s. The platinum bob, the pearl handled walking stick and the desperately poor eyesight. But in the early drafts Esther had a very different life story, although I drew great comfort from Rachel’s growing friendship with her.

Without my mother’s faith and encouragement I can honestly say I would never have had a book published. She read my embryonic attempts at novel writing and gave constructive criticism – despite my father being the writer in the family – he never really understood romantic fiction and just seemed slightly puzzled by the whole thing. But Mum egged me on, and when she thought I had a strong enough book suggested I enter The Alan Titchmarsh Show’s People’s Novelist competition. I am absolutely sure it was one of her proudest moments when I reached the final and I just wish she could have travelled to London to see it with her own eyes.

She was also a huge influence on what I write. She devoured library books (large print in her latter years) and used to get very fed up with what she’d call ‘boy meets girl, they fall out three times then get married’ formulaic romances. As a reader she wanted so much more. What neither of us realised was that at the time it would have been far easier for me to find a publisher had I been closer to the mainstream in my chosen genre.

As a result she didn’t live long enough to see my first publishing deal, but I have a feeling she knows. I think she would have been really proud of Another You and would have enjoyed reading it. Endless Skies became a companion piece – my second book with Sapere – both contemporary romances looking back to World War Two.

It was when I made the decision to rewrite Endless Skies this way my mother’s wartime experience came into its own. Or rather one pivotal point she shares with Esther. Both were bright grammar schools girls living in rural communities who could no longer safely travel to school because of the bombing. My mother spent a terrifying air raid trapped on a train in a siding in the middle of Cardiff and her parents said ‘never again’.

While my mother went into the civil service at fourteen (not much older than she was in this picture), Esther’s only local option was a job in the laundry at the RAF base just outside her village. This was home to two squadrons of brave and often reckless Polish airmen, and Esther could only stand by and watch as the most tender and poignant love story unfolded in front of her eyes. A story which, seventy years later, had the power to change Rachel’s life.

SISTER SCRIBES: CASS GRAFTON ON AN UNEXPECTED LITERARY CONNECTION

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Living in Switzerland for the past six years, we’ve been fortunate enough to visit some wonderful locations, many with literary connections.

For example, JRR Tolkien made a trip to Switzerland in 1911 and took inspiration from the scenery to create the settings for some scenes in The Hobbit and the Lord of the Rings trilogy. His journey took him to many iconic locations, including Zermatt—home to the Matterhorn—and Lauterbrunnen, a verdant and picturesque valley with over 70 waterfalls.

The author wrote to his son, Michael, in 1967: I am delighted that you have made the acquaintance of Switzerland, and of the very part that I once knew best and which had the deepest effect on me. The hobbit’s journey from Rivendell to the other side of the Misty Mountains, including the glissade down the slithering stones into the pine woods, is based on my adventures in 1911.

This is not the only Tolkien connection with the country. The unique Greisinger Museum in the village of Jenins is dedicated entirely to Middle-earth and contains unique artefacts, art, literature and collectors’ items, and you enter through a door into a hobbit hole!

Not far from Lauterbrunnen is another place with a literary connection: Meiringen. The town is in a beautiful valley and is famous for the stunning Reichenbach Falls, portrayed by Sir Arthur Conan Doyle in his Sherlock Holmes’ novel, The Final Solution.

These were not unexpected literary connections, however, being popular tourist destinations.

One of our early discoveries was idyllic Weggis, a small resort town lying on the shores of Lake Luzern and at the foot of Mount Rigi (known as the Queen of the Mountains) from whose summit there are stunning views of the lake and a spectacular vista of the Alps.

Modern day visitors take a train to the summit, but before the Victorians constructed this cogwheel mountain railway (the first of its type in Europe, opening in 1871), wealthy people travelled up Rigi by sedan chair. The mind boggles!

Weggis is such a beautiful place. The water is a deep, aqua blue, almost transparent by the shoreline, and the mountains across the water stand out starkly from it, glowing in the bright summer sun or wearing snowy caps in winter. There is an ethereal light gently embracing the rocky outcrops at all times of year; a light that changes with the seasons. Being there is like taking a deep breath of fresh air, bringing a sense of calm, of escape from the everyday world.

Imagine my surprise, however, to discover that American author, Mark Twain, had also visited the little-known town of Weggis and felt very much the same. In 1897 he wrote: This is the charmingest place we have ever lived in for repose and restfulness, superb scenery whose beauty undergoes a perpetual change from one miracle to another, yet never runs short of fresh surprises and new inventions.

I do, of course, take some words attributed to Mark Twain with a grain of salt. He is famously quoted as saying of Jane Austen, ‘Everytime I read ‘Pride and Prejudice’ I want to dig her up and beat her over the skull with her own shin-bone.’

Anyone professing such strong feelings against a book, yet continually attempting to re-read it, must be considered a bit of a contradiction! Jane Austen, I’m sure, would have been excessively diverted, and talking of diversions, it’s time I went off to look at the diary in readiness for booking another trip to Weggis.

Sources: MySwitzerland.com, The Letters of JRR Tolkien and Mark Twain – A Biography by Albert Bigelow Paine