WELSH WRITING WEDNESDAYS: HELGA JENSEN ON WALES AS A SETTING FOR COMMERCIAL FICTION

When I was planning my debut novel, Twice in a Lifetime, there was only one place for me to set it in. Having been brought up in West Wales, I was determined that any book I wrote would focus on some of the stunning areas around us. How you could possibly put those scenes into words was a completely different challenge! However, I knew that I wanted to promote Wales and see it featured in more commercial fiction. We have many women’s fiction books set in Cornwall or Ireland, so why not Wales?

When I first queried my book and sent it to agent’s I had a mixed response. Some loved the idea of a different setting, but one agent stated that perhaps Cardiff would be acceptable for my romantic comedy, but nothing further west. I was quite surprised at this. We often see Cornwall with its beautiful beaches, so why not West Wales with its similar beauty?

Whilst I was surprised at this observation, as always, when someone tells me something might not be possible, it makes me more determined. Therefore, I persevered and, although my book is also set in New York, I finally saw success with my romantic comedy that features the beautiful township of Laugharne.

After all, Laugharne is famous for many things, including the more recent television series, ‘Finding Faith,’ which has helped put it further on the map. But, of course, the association with Dylan Thomas is probably the most famous claim to fame that Laugharne has, so as Dylan spent his time in New York too, I felt a setting for a book with Laugharne and New York were the perfect marriage for my debut novel.

Since Twice in a Lifetime was released, I have had lovely messages telling me how refreshing it is to have a romantic comedy set in Wales. Naturally, I was thrilled at this feedback, as this is precisely what I set out to achieve.

I am now working on book two, which will have a combined setting of Wales and Denmark. It remains my ultimate goal to promote Wales in the world of women’s fiction. There are so many opportunities for the glorious parts to be shown to the world that I simply can’t help promote it through my books. Just as there are many prolific Irish writers, such as Maeve Binchy, with her incredible story, ‘Circle of Friends,’ I hope there will be similar best-selling commercial love stories and adventures coming out of Wales.

Trends are certainly changing, and more and more books are getting published in the mainstream from the region, but I would still like to see Wales in more romantic comedies. We have ubiquitous books traditionally set in mining villages or used in historical fiction, so I would now like to see it featured as a setting in comedies and romance. After all, welsh men can be funny and romantic when they want to be!

So, there might be many tales of Wales in books on folklore, myth and magic and eras gone by, but here’s hoping for a future filled with books set in Wales for romantic comedies and similar commercial women’s fiction.

 

 

Twitter: www.twitter.com/HelgaJensenF

 

 

 

 

THE BUSINESS OF BOOKS: FROM PITCH TO PUBLICATION

Jane Cable picks up a good book.

Doubts happen to every writer, at every level. For me, at this precise moment, it’s about whether I’ve written the right book. It’s a book I wanted to write, with characters I’m passionate about and a story I believe in, but as I begin the submission process the doubts have set in.

As ever, it was a writer friend who gave me a helping hand out of the hole I was rapidly digging for myself. Take a bow, Barbara Copperthwaite, for recommending an excellent book; From Pitch to Publication by the late, great literary agent Carole Blake. Barbara credits reading the book with helping her to land her agent and publishing deal. “Turns out I was doing it all wrong,” she told me. And because I know ‘all wrong’ was nothing to do with the quality of her writing, I downloaded the book straight away.

It isn’t a book you read cover to cover – you keep it by your side and refer to different chapters at different stages of your life as a writer of commercial fiction. And some of the advice seems just a tiny bit dated, written as it was in the days (not that long ago) before direct submission and digital only publishers became major players in the market. But the first chapter alone gave me plenty to think about.

 

So, what have I learnt from this wonderful tome?

What is the right book?

The very first pages start with the question that had been haunting me. And answered it from a very commercial angle. Yes, write what moves you but with an eye on the eventual market. Trends are impossible to spot but there are certain aspects of a novel you can build in from the start which will help it appeal to publishers; for example the right well-researched location, the right choice of profession for your protagonists. Both need a touch of glamour – or at least desirability. Keep the word ‘aspirational’ in mind and you can’t go far wrong.
Follow your genre’s rules

Genre is massively important in commercial fiction terms and you need to understand the rules of your genre inside out. To do that you need to read a lot of it. While your idea and your voice need to be sparkling and original, your story needs to meet your readers’ expectations. Romances have to end HEA or HFN (happily ever after or happy for now). Every genre has its optimum length. But never, ever, pick a subject because you think it’s going to be the next best thing – your lack of passion for it will show in your writing.
There is a checklist… a magical checklist

I’m not going to give the whole game away, because that wouldn’t be fair and if you’re serious about a career as a commercial writer then you need to buy this book. But here are just a few of the items on it which seemed most important to me:

Is the world where the novel is set one in which readers will want to spend time even before they have come to know the characters?

Is my central character fully developed and someone readers can readily identify with?

Are my plot strands so overly complicated that readers will get confused?

Can I sum up my storyline in one sentence?

 

And finally, the magical triangle

This had never entered my head but it makes the most sense of all. As a writer you need to be able to build and control the relationship not only between writer and character, but between writer and reader – and reader and character. Not just for one book, but in a way that will forge a lengthy career. It’s a huge question but one, as writers, we really need to ask.

 

From Pitch to Publication by Carole Blake is published by Macmillan