Category: Writing Process

Is this relationship doomed?

15/7/2023

I’ve been having an on-off affair with my WIP since the end of last year. Sometimes, it’s all consuming. Sometimes, I think the relationship’s doomed and we should go our separate ways.

I’ve nailed my main character, drafted a few chapters and sketched out the plot. I even have a title. But I’m not sure if it’s too personal, and whether that’s an asset or emotional burden too big to bear.

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Four novels that inspired Annalisa Crawford’s Small Forgotten Moments

9/7/2021

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Annalisa Crawford, author of Grace and Serenity, has a new novel out next month, and she’s kindly agreed to tell us about some of the fiction that inspired Small Forgotten Moments. Two of her chosen four are novels I’ve also read and enjoyed. I’ll hand over to Annalisa to introduce all four.

Thanks for inviting me onto your blog today, Anne. I thought I’d share some of the books which have inspired me while writing my new novel Small Forgotten Moments, and the months (even years!) which preceded it.

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How would you answer the covid novel’s call?

28/6/2020

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History can’t have got the memo. The virus destined to put the world on pause has had us glued to the news: first with the exposure of right-wing government incompetence, then with the spotlight on racism we can no longer ignore. Whether this depresses or delights us, it’s hard to keep up. What’s the role of the writer – particularly writers like me with a tiny readership – in historic times? Should novelists switch to facts from fiction? Should we try to shape historic discourse or step back and observe?

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What is YA fiction? Learning from Paula Rawsthorne and Dorothy Winsor

29/7/2019

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Around this time last year, I was 10,000 words short of finishing the first draft of a dystopian novel provisionally entitled Snowflake, but failed to meet my overambitious target of getting it done before my “summer break”. Almost a year on, although I’ve done a fair amount ofsome editing, I still haven’t written those final scenes.

Aside from the usual dose of self-doubt, two things have held me back: one about plot, the other about genre. How do I get my characters in and out of the cave? With a fourteen-year-old narrator, ought I to position this novel as YA?

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Desperately seeking elixir? #amwriting

7/5/2019

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I wrote recently how, after a few uninspiring months, I’d been infected with a new novel idea. A few weeks on, I love the characters, the situation and the potential quirkiness of one of the voices, but I’ve tried to rein in my enthusiasm to nail the plot. As one of my writing goals of 2019 is to reflect on where I’m placed in the marketplace and in my writing journey, I’m exploring how to make my fiction more commercial (as well as more literary), which means not embarking on projects that might lack wide appeal.

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Write drunk, edit sober?

8/4/2019

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It’s been an odd year so far on the creative front. After setting some grandiose fantasy goals about raising my profile, I succumbed to a virus which meant I could barely manage the weekly 99-word stories. But, once the acute phase was over, while still lacking the energy to leave the house, I found I could edit. Big time! So that what began as a gentle tidy-up of the (already much-edited) manuscript of my possibly third novel, Matilda Windsor Is Coming Home, cutting out modifiers like just and only (of which there were actually surprisingly few), morphed into a mammoth spring clean, where almost every word was subjected to the third degree.

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Does your inspiration come mostly from inside or outside?

4/10/2018

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October brings the Flash Fiction Rodeo to the Ranch, with the weekly challenges suspended and the ring cleared for competitive wrangling words. Now, I’ve entered writing competitions in the past – and even won one or two – and, after initial scepticism, I’ve grown addicted to submitting my 99 words. But last year, unable to bring the two together, I could only watch from the sidelines. This year, I’m joining in.

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Should I stretch this short story to a novel?

27/8/2018

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One moonless night, when her daughter was but a few months old, Eve clawed back her silken baby skin and planted a bomb in her chest. It wasn’t as difficult as you’d imagine; a baby’s body is more malleable than an adult’s. Getting under her daughter’s skin was rather like peeling an orange. Or picking at the flap of a sealed envelope to slip an extra something inside.

It was only a small bomb, the size and shape of a button battery, albeit large in relation to her daughter. It was bigger, for example, than her daughter’s dainty fingernails, bigger than the snub of her nose. But, like a school uniform, the child would grow into it, grow until the bomb was eclipsed by the face of her wristwatch or an ornament she might hang from her ear.

I wouldn’t blame you if the opening has put you off my most recently published short story (or the length at over 3000 words) but, if you do choose to read it, you might be able to help me decide where, if anywhere, to take these ideas next.

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Come into my cave! #amwriting

24/6/2018

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As Britain hurtles towards the cliff edge of Brexit, and the President of the United States pays compliments to a dastardly dictator while referring to migrants as animals, it’s as if we’ve learned nothing from the run up to the Second World War. If politics were fiction – if only! – we’d be approaching the crisis point known as the cave.

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Flesh on the bones: Beyond the 99-word story #flashfiction

27/4/2018

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I wrote recently about how practising the 99-word story strengthens my editing muscle. But, of course, the discipline can also have benefits in the other direction, planting a seed that can grow into a longer piece of fiction. The recently published Congress of Rough Writers Flash Fiction anthology contains five such expanded stories (including one of mine) along with the original 99 words. I not only relished reading the other four on their own merits, but I also wondered about the different ways we’d fleshed out our original bones. Would a closer examination of the authors’ process from flash to the longer story (or, in one case, from long to flash) help elucidate that enigmatic creature, creativity? Here’s what three of the other authors told me, along with my own 99 words. (Photos and links are from/to the relevant author page on the Congress of Rough Writers list.)

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What's the difference between a draft and an edit?

14/4/2018

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In my recent post My fast first draft three years on, I mentioned having done four subsequent drafts and an edit of the novel I’m currently calling Matilda Windsor Is Coming Home. Now, I like to count drafts, but how do you define one? When does a read-through, picking up obvious errors, become promoted to draft status, and what’s the difference between that and an edit? When I put the latter into my search engine, the nearest I got – admittedly, I was too lazy to go beyond the first page – was a tangle of speculation on the difference between drafting and revising, none of which was entirely satisfactory. Pushed to come to my own definition, here are my thoughts, along with reflections on how I motivated myself to move from scrappy first draft to an edit.

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My fast first draft three years on

15/1/2018

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Three years ago this week, I completed my first ever fast first draft of a novel. Four further drafts and a significant edit later, it’s ready for beta readers’ scrutiny. So it’s an ideal time to reflect on the overall process, and ask myself whether that’s a good way to go about creating a publishable book.

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The Unconscious, Dreams and Hallucinations in Fiction

26/6/2017

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Writers are rightly interested in the unconscious as both a source of creativity and a means of revealing our characters’ unacknowledged anxieties and desires. Since Freud considered dreams the royal road to the unconscious, perhaps we should also be curious about dreams. I’m also interested in what happens when the boundary between dreams and reality breaks down, as in hallucinations and delusions, and the thoughts that arise in a hypnagogic state. How do we use these in our fiction? How do we avoid getting it wrong?

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The joy of rewriting

11/3/2017

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If there’s a honeymoon period in the transition from writer to author to novelist, it’s got to be the publication of that debut novel. It’s a place which might have haunted our dreams for years, without any confidence we’d actually reach it. No wonder it seems almost magical to see other people with your book in their hands.

By definition, a honeymoon can’t go on indefinitely. There is no fairy-tale happy ever after when real life intervenes. After two lovely launch parties for my debut, I came back to earth with a bump when I learnt that, as with being married, there’s nothing particularly special about having written a book.

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On Writing, Rocks and Milestones

6/2/2017

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The average person walks at a rate of three miles an hour. But none of us is the average person. The time we take to walk from A to B varies with our general fitness, the length of our stride and our eagerness to reach our destination. The contours of the land, the smoothness of the path and even the weather also impact on our journey times. Diligent planners will take these factors into account when embarking on a country walk, but even pantsers can make judicious use of the three-miles-an-hour rule in knowing we can’t cover in a day a distance that would take the average person a week.

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If you’ve lived an interesting story, should you write about it?

12/12/2016

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A few months ago I was talking about my reading to a friend who’d just published his first e-book. I thought he might enjoy Belonging which, I said, features aspects of recent Indian history that appear in fiction less often than Partition, the backdrop to Where the River Parts. Oh, I was there, said my friend – or more eloquent words to that effect. You were there during Partition? quoth I. You should write about it!

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Planning for pantsers?

25/10/2016

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Although, like many writers, I find autumn to be the best time to tackle major writing projects, I’ve never yet been tempted to register for National Novel Writing Month. For me, the pace is too fast and the outcome too limited, but there’s nothing to stop me joining in informally, which is what I decided to try two years ago. Starting with three character sketches and a rough idea of the main plot points, I averaged a thousand words a day from the beginning of November onwards and surprised myself with a rough first draft of just under 80,000 words by the middle of January.

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The amazing workings of the unconscious mind

19/9/2016

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I had a dream last night. Don’t worry, I’m not going to bore you with the details, as I can’t remember much more than the basics of the characters involved: a mother, father and three young boys. It was one of those dreams that feels extremely vivid, but doesn’t translate into the waking world. And, while I don’t think the dream content merits interpretation, I do take it as a communication from my unconscious mind. A reminder of its existence, or my belief in such, in good time to provide a theme for the post I wanted to write today in response to the latest flash fiction challenge.

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Don’t talk to me, I’m working!

15/8/2016

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Like many writers, I find walking conducive to the creative state of mind. So I enjoyed the thoughtful blog series put together by Kate Evans for Mslexia last year. The theme cropped up again recently on Caroline Lodge’s Bookword blog, with a link to research on the positive impact of walking on creativity. Of course, I always knew it “worked”, but gratifying to see my intuition backed up by experimental psychology.

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The fast first draft: reflections on my non-NaNo project

18/1/2015

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I write to satisfy a difficult-to-pin-down need deep within my psyche, but writing is tough, and publication tougher and, at this stage of my life, I want to prioritise activities that bring me some satisfaction. Before I came out as a writer, I would scribble intermittently and intensively, emotionally-laden narratives that left me demoralised and deflated. About twelve years ago, I enrolled on an online short story course which enabled me to begin the arduous process of learning how to share and edit my words. Although I’m now in the joyful position of having one novel accepted for publication and another doing the rounds, somewhat less joyfully I have several unfinished novel projects and I can’t say I really know how one goes about the process of getting from idea to finished product.

Winter being the best time for me to get some serious writing done, as the days grew shorter last year, I was excited when a new idea took shape in my mind. But I didn’t want to make the same mistake as the year before and end up losing interest at around 30,000 words. (I might write a post one day on deciding to abandon a project, although Emma Darwin has done this better than I ever could on her wonderful blog This Itch of Writing.) Hitherto suspicious of NaNoWriMo, I thought I’d make use of its slipstream to knuckle down to my project, albeit with a less ambitious target of an average of 1000 words a day.

Have I achieved my goal?

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Four writing process blog hops: the what, how and why

9/12/2014

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Transferred from blogger to blogger like a virus, the blog hops and awards go round and round. If they enter your circle without touching you, you start deluding yourself you’re immune. Then you get clobbered by several simultaneously; it’s enough to keep you in bed. Some discover creative ways of declining but, like those childhood illnesses that confer adult immunity, there’s a lot to be said for getting them out of the way when you can.

Of course I’m flattered by the nominations, but there’s no denying that responding eats into your writing time. So, as I did a couple of months ago with my backlog of blog awards, I’ve decided to condense the four blog hop doo-dahs into a single post.

Lisa Reiter nominated me for the “my writing process” blog hop way back in June (hence the Sweet Williams on my desk). This involves answering four questions about the what, why and how of one’s writing and passing on the baton to another three writers whose work you admire. Easy: but I still hadn’t paid my dues when, almost three months on, Tricia Orr invited me to be her nominee for the same blog hop. Meanwhile, another mutation raised its head, focusing on the single question of “why I write” in greater depth, which came my way via Ruchira. Finally, a brand-new blog hop from #writingwithoutworkshops, again concentrating on the importance of why (via the tag #importantbook) infected me by one of my Liebster nominees, Juliet O’Callaghan. Let’s hope I can do justice to these lovely ladies’ confidence in me by providing some answers that aren’t as rambling as this introduction.

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Three into one? Strange Girls and Ordinary Women by Morgan McCarthy

12/11/2014

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Alice’s husband is becoming increasingly critical and his excuses for his absences from the home more and more lame; is she right to suspect he’s having an affair? Vic, managing the hotel in Madeira previously owned by her parents, is delighted when her old friend Michael returns to work on the island; should she share her doubts about the honesty of his new girlfriend, Estella? Kaya dreams of studying philosophy at university but for now, having fled her feckless mother and her mother’s druggie boyfriend, she’s capitalising on her good looks as a stripper; can she leave this life behind? Three women at different stages of the lifespan, seemingly unconnected at the beginning of the novel, find their fates disturbingly intertwined.

This is the last of the four novels published on 6th November (although the hardback of Strange Girls has been out since July) I’m reviewing this month. I was eager to read it after coming across a couple of reviews by bloggers who found this novel much more engaging than they’d expected. Having nothing original to say about the plot without stumbling into spoilers, I’d love to refer you to those reviews but I have to confess I’ve forgotten where I found them, so if you’ve come across anything about this novel that might be of interest to other readers, do please paste the link in the comments section below.

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The stories we choose: high jinks and travel horrors

13/5/2014

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Well, the challenges are mounting: the prompts for 99-word flash fiction are announced on Wednesdays and bite-sized memoir every Friday afternoon. This week it’s travel horrors for flash and childhood jinks and japes for memoir – or is it the other way around? My secret¹ ambition is to write a piece that satisfies both simultaneously but, until I get there, I’m making do with incorporating my separate responses into the one post; it gives me another excuse for navel-gazing on the writing process from memory to memoir or not.

Time was when I loved to travel, although now I much prefer to stay at home. But I have lots of cherished memories; I even have a stack of travel diaries I could use to check my facts. Charli’s prompt sparked off a stream of reminiscence, of thrills and spills and moments of, if not quite terror, some pretty dodgy stuff. Were I better raconteur, my travels would make for some great dinner-table storytelling, but my adventures have made only a rare appearance in my fiction and, when they did, I got confused as to what was memory and what imagination. When it came to my 99-words I was overwhelmed with possibilities, yet none seemed strong enough to demand their moment on the screen.

Charli²: But it’s fiction, you’re allowed to make things up!

Annecdotist: Yeah, but somehow I don’t want to this time; I want a story that stays faithful to the things I’ve seen and done.

Lisa²: Ha ha, you’re being converted to memoir.

Annecdotist: Only for this particular topic.

In the end, an idea bubbled to the surface and I grabbed it before it could sink back down again and another take its place. I don’t know why it chose me, but here it is:

I was scared as you were, believe me, but I smothered my anxieties with thoughts of tulips, van Gogh and canals as we bedded down with the down-and-outs in a dusky recess of the shopping mall.

A perfect plan in daylight: a lift halfway to Amsterdam. We’d pass the early hours in the waiting room and catch the first train out. No-one mentioned that the station closed its doors at night.

The police beamed torchlight across our faces. I thought they might relax the rules for two sisters, strangers to the city, but they ushered us into the night.

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6 lessons from history's creative minds

28/11/2013

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Myths abound about how to nurture creativity. If I drink like Ernest Hemingway will I come up with a twenty-first century For Whom the Bell Tolls and bag myself the Nobel Prize? Somehow, I think it might take a bit more than that, but it needn’t stop me opening another bottle of wine.
Many of us believe we have to do things in a certain way to get the creative juices flowing. It’s hard to let go of our treasured beliefs but do any of these routines actually work? Mason Currey has trawled the daily rituals of history’s creatives to identify six common themes. It’s not exactly a randomised controlled trial but, if you’re looking to boost your creativity, it’s a reasonable place to start. As you’ll see, I don’t measure up so well against the criteria. Can you do better?

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Whose story is it anyway?

4/11/2013

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I’m not someone who goes out armed with a notebook and pencil, ready to snatch snippets of dialogue from an innocent public. It’s not so much, that like Chimamanda Ngozi Adiche, I’ve had people challenge the real-life stuff as unbelievable, or that I’d draw the line at stealing for the sake of my art.

It’s not even that, with repetitive strain injury, I’m one of those writers who (physically) doesn’t write if she can help it. It’s more that, as my head’s already crammed with other people’s stories, I tend not to go searching for more. But sometimes a story is offered to me on a plate (if you read the story, you’ll see how apt is the cliché), and I feel I’ve no choice but to take it, which is exactly what’s happened with Peace-and-Quiet Pancake, just published on the website Flash Fiction Online.

I'm always pleased when my work finds a good home, but this feels extra special because I’m actually being paid for it (very rare for short stories on the web). Now, this post is about ethics, but I'm not asking you to advise me on whether to declare this small amount of income on my tax return. (I'm not at all ambivalent about paying tax, just what it's spent on.) My discomfort relates to whether the story is genuinely mine to sell.

Don't get me wrong. I wrote the words and assembled them in the right order. I devised the plot and structure, such as it is. But the content, the central event isn't entirely fictional and, what's more, while I was present as it happened, it didn't happen to me. So in a sense, it's the little girl's story not mine.

Do other writers worry about things like this?

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