Ghost writing vs publishing your own novel – Emma Rowley tells all

Today, on my blog, I’m delighted to welcome psychological thriller and ghost writer Emma Rowley and chat to her about her newly published thriller as well finding out a little more about ghost writing. 

Tell me about your new novel You Can Trust Me – what’s it about?

It’s a psychological thriller about a ghostwriter, Nicky, whose new client Olivia is an Instagram influencer with an apparently picture-perfect life. Her job is to help Olivia to write a book – sharing all her lifestyle tips and tricks – but she soon finds out there are things Olivia just doesn’t want to talk about … and her beautiful family home harbours some dark secrets.

What inspired it?

My own experiences as a professional ghostwriter. I’ve got on with all my clients, but it is definitely a relationship that can be quite intense – you are asking someone to tell you all about themselves, so there is a lot of trust involved. ‘You know everything about me,’ a client told me once. ‘But I don’t know anything about you…’ She just wanted to get to know me a bit better, but I remember thinking even then, that sounds so sinister! I knew that one day I’d write a book about a ghostwriter relationship that goes very wrong.

What exactly does a ghostwriter do?

Basically, it’s a collaborative process where I help someone write their book. A lot of people will need a hand with getting their thoughts down on paper, or structuring them into an actual book, which might be up to 90,000 words. How it works normally is, I will interview someone over a period of weeks, in person or over the phone, then I will go away and use all that information to write a draft that we will work through together, making changes so that they are totally happy with it. The key is to capture their voice as much as possible, so it really feels like their book. Over the years, I have worked with everyday people who have incredible stories to tell, as well as celebrities – but I’m afraid no, I can’t say who!

How did you get into that?

Through working as a journalist for years – there are similar skills involved, in terms of asking the right questions, listening closely to what people say, and organising all the material you collect into something that’s cohesive and readable. Funnily enough, It meant that by the time my debut novel, Where The Missing Go, came out in 2018, I had already written half a dozen books already, albeit under other people’s names (and they were all non-fiction).

What’s it like to switch from ghostwriting to fiction?

Actually, I still work as a ghostwriter – I never stopped! The advantage that gave me, as I set out to write fiction, was that I knew I could finish writing a book, at least, which gave me confidence. And capturing people’s individual voices for their books – making sure I had the right turn of phrase, vocabulary and rhythm – was great practice for making sure my first-person narrators had distinctive voices, particularly as I like to write books with more than one narrator.

What was it like to see your own name on a book you’ve written, rather than someone else’s?

It was wonderful! Writing my own books, rather than helping other people write theirs, was a totally different experience. I actually found it more difficult to write fiction, as you have to conjure up everything yourself – with a ghostwritten book, someone else is sharing their thoughts and experiences, of course. But I love it – my latest book, in particular, is so personal to me.

It sounds fabulous! Thanks for chatting to me today and wishing you lots of luck with ‘You Can Trust Me.’

Emma’s first thriller Where The Missing Go was a 2020 Edgar Award nominee. Her new book You Can Trust Me was published in paperback on September 3 by Orion

Amazon: https://www.amazon.co.uk/dp/1409175804

Blackwell’s: https://blackwells.co.uk/bookshop/product/9781409175803

Audible:https://www.audible.co.uk/pd/You-Can-Trust-Me-Audiobook/1409186334

How I tackle edits – Novel Writing – 10 editing tips

Today I’ve received my edits for my second Amelia Henley novel which will be published next July. I admit, that I’ve been a little worried about this story. Since writing it, my debut contemporary fiction book ‘The Life We Almost Had’ has been released on eBook (it’s currently 99p) and the reviews have been STUNNING, they’ve really taken my breath away. Readers have said Adam and Anna’s unusual love story will always stay with them so Jack and Libby have A LOT to live up to next year. Thankfully my editor has called my second commercial fiction book ‘another pretty epic love story’ so that’s a relief.

Receiving feedback can be overwhelming. As authors we send off the best version of our manuscripts and hope that our editors love it and it can be easy to believe they don’t when the notes come back with suggestions of changes. I remember that prior to signing my first book deal I asked my editor, Lydia, who had made the offer what she wanted to change with my debut psychological thriller, ‘The Sister,’ I’d already turned down an agent’s offer because they wanted me to completely restructure it. Lydia assured me she loved it and in my naivety I thought that my work was done. When she returned my manuscript with track changes (which I had never seen before) I was HORRIFIED. We spoke on the phone immediately.

‘I thought you loved my story?’ I wailed.

‘I do,’ she assured me.

‘But you’ve sent it back and it’s covered in… RED.’

She explained that even though there were no major structural changes to be made there was work to be done (and then copy edits and then the proofread, and then the typesetting…) She was immensely kind and patient guiding me through the process which felt enormous.

For those early books I would read my editorial notes, cry, panic (repeat several times) and then write an email questioning everything and then cry and panic a bit more until Lydia calmed me down.

Now I know it’s essential to take time to digest the suggestions before even thinking about tackling them.

Today, I read my notes and then went for a walk to ponder them over. When I got home I opened up my manuscript in Scrivener which is where I prefer to work until the copy edit stage and I opened up my editor’s track changed Word document side by side. I copy and pasted all of her notes into Scrivener in the appropriate sections placing an XX before each one and then I stepped away. I’ll give myself 24 hours thinking space before I tackle any writing. Tomorrow I’ll do a document search for each XX and make the majority of the suggested changes before reading it through again and expanding or cutting anything else I feel needs it. If there’s anything I don’t want to change I will contact my editor and explain why and we can talk it over.

My editor, Manpreet, is fabulous. She took a chance on ‘The Life We Almost Had’ a love story with a very unusual concept and a twist and understood completely what I wanted to do with it so I trust her BUT I don’t want to rush in and chop bits out if I’m not entirely sure it’s the right thing.

Remember: –

  • Don’t panic.
  • Take some time to digest the suggestions.
  • Your editor does love your book or they wouldn’t be publishing it.
  • Everybody has a vested interest in making the story the best that it can be.
  • Writers can become too close to their characters to be objective.
  • There’s no right or wrong way to tackle edits, you’ll find your own way of working and that might change with every book.
  • If it all seems too much try writing list – everything seems more manageable with a plan.
  • Ultimately it’s your name on the cover so if you feel you don’t want to change something tell your editor why – they won’t (shouldn’t) bite.
  • The end is in sight!
  • When you can’t bear to read through your story one more time and hate the sight of it you’re probably done!

If you’ve any editing questions I’ll be chatting live on my Facebook page on Thursday 20th August at 3pm GMT about ‘The Life We Almost Had‘ but do come & ask your writing/publishing questions.

The Life We Almost Had‘ is currently 99p across all digital platforms during August. Download it from Amazon, iBooks, Kobo or Google.

You can preorder the paperback from Amazon or Waterstones or support your local bookstore. 

 

Choosing the right location for a novel – writing

An important decision any writer needs to make is where to set your novels. The right location can really highlight the genre and set the mood. There are advantages of using a genuine place; readers who are familiar with it can instantly place themselves in the location, and disadvantages; landscapes can change so quickly and if you get any of the details wrong this can be jarring.

For my early novels where locations didn’t matter to the story so I kept things deliberately vague, never naming a town or stating exactly where it was supposed to be. Name generators on Google were my friend although this almost backfired once after naming a village ‘Therinsborough’. My editor immediately flagged this with a ‘Didn’t you ever watch Neighbours, this sounds very close to Erinsborough, Louise….’

My latest two novels however, are a little different. For my forthcoming psychological thriller, ‘The Stolen Sisters’ I use the location where the Sinclair Sisters, Leah, Marie and Carly, are taken and held captive almost as another character. The description of the abandoned site where they are held adds another chilling layer to their story and really creates a dark atmosphere. To find the perfect location, I spent hours trawling through urban explorer sites and watching YouTube videos until I stumbled across the perfect place. Here I could envisage these three young sisters huddled together, cold and scared, but also telling stories and making up games to support each other through their ordeal. The stark, cold, decay of their rooms contrasting with the warmth of their loving relationship which shines through the pages. I’ll be sharing these real life photos closer to the 1st October publication.The idea for my debut contemporary fiction novel, ‘The Life We Almost Had’ came to me in Lanzarote. I was gazing out to sea and, in my imagination, I saw a shocking scene play out before my eyes, like a movie. Instantly I knew I had to write the unusual story I had imagined.I wanted to base the novel on Lanzarote but as this love story has a futuristic element I needed to build a Scientific Research Centre on the north of the island and so I renamed my island Alircia (although I still secretly call it Lanzarote). I use the blue skies and sparkling seas to paint a warm and loving picture. We’re with the couple as they fall in love and visit the tourist attractions that I also visited – (using a real location has the added bonus of research trips!) – the house of writer Jose Saramago, the lava caves, Jameos del Aguo, the markets and of course, the place where the story circles back to, the beautiful cove at Playa Blanca where couples fasten lovelocks.I was so utterly invested in Anna and Adam’s love story with a twist that I bought them a lovelock even before I had even put pen to paper.When Anna and Adam return to the UK things get drab and bleak, much like the weather. Life throws them on to an unexpected path. Both keeping secrets, they return to their beloved Alircia to try to fix their fractured relationship but a tragedy forces them apart. Will they take the ultimate risk for a second chance at their love.You’ll have to read the book to find out!

The Life We Almost Had‘ is currently 99p across all digital platforms during August. Download it from Amazon, iBooks, Kobo or Google.

You can preorder the paperback from Amazon or Waterstones or support your local bookstore. 

Pre-order ‘The Stolen Sisters’ here.

Both books are available as ebooks, audiobooks and paperbacks.

 

 

How do writers research? My top 10 tips!

 

One of the things that put me off writing a book for years (other than fear of failing, fear of making a fool of myself, fear of being terrible at writing and shattering my author daydreams) was the research. How did writers know all the things that went into their books? I guessed that high profile authors, perhaps had police contacts on speed dial to check out procedures but what about the rest of us? Those starting out? What happens when Google just doesn’t cut it?

Writing ‘The Sister’, I shied away from including anything I didn’t know much about which left…. very little content. I had to reach out to experts and the thought terrified me.

I remember, with clarity, the way my hands shook, palms sweated, as I made my first call to the fire department to ask for their advice (and no, I didn’t ring 999 claiming a plot emergency) tentatively explaining I was writing a book and wanted to be as accurate with the details as I could. I was told someone would call me back. Despondent I hung up, sure I’d never hear from anyone. Later that afternoon my phone rang, a man introducing himself as Chief Inspector and my heart skipped beat, certain I was about to be arrested for wasting time, but he was lovely and helped enormously. His advice changed the whole scene and he worked on the detail with me until we were both happy.

I realised then that most people are happy to talk about the things they have a passion for and knowledge of. Since ‘The Sister’ I’ve spoken to numerous people about various things – the concept of cellular memory for ‘The Gift’ (a heart retaining memories of its donor so the recipient knows things they shouldn’t…) Prospagnosia (Face Blindness) for ‘The Date’, surrogacy and law for ‘The Surrogate’, brainwashing for ‘The Family‘ and kidnapping for the forthcoming ‘The Stolen Sisters‘.

One of the most interesting things I have researched is neuroscience for my latest publication ‘The Life We Almost Had’ which is my debut contemporary fiction novel published under my pen name ‘Amelia Henley’. I’d become fascinated with consciousness and, for fun, I wanted to write a story set in current times but to expand on scientific elements for part of the plot (and yes I know this sounds vague but I don’t want to give spoilers).

I called up Magdalen College in Oxford and explained what I was doing and they invited me to sit in on some lecturers. I met some of the world’s leading experts in their field and I found it so enjoyable so much so that I’ve been looking into formally studying science in some capacity.

There’s a danger, when authors research, that they want to put everything they’ve learned into the story because they’ve spent so much time learning and because they’ve found everything so interesting and this is something I definitely had to bear in mind with ‘The Life We Almost Had.’ At it’s heart, it’s a sweeping love story and I often found myself cutting out technical explanations that I knew some readers would find boring, and getting back to Adam and Anna’s tangled relationship.

Writing ‘The Life We Almost Had‘ took me to Lanzarote where much of the story is based. Research trips are great fun sometimes so much so I forget to do the actual research…

Here are my top tips for researching: –

  • Take the time to choose who you think can best help you carefully, for instance there are many different types of lawyers, doctors etc.
  • Approach people respectfully – I never ask questions in my initial email but rather ask if they’d be willing to answer questions and I let them know roughly how many or how much time I think I’d need for a phone chat.
  • Don’t fire off the same email to dozens of people asking for help and waste people time if they all reply.
  • Plan ahead so you can continue writing while you wait for a response. Appreciate people are busy and they might not get back to you straight away.
  • Also make sure you have your questions ready before you ask for help. For the book I’m currently writing I emailed a charity, assuming that because of the pandemic they might not have the time or staff to get back to me at all and they called me five minutes later and I wasn’t prepared!
  • Don’t include everything you’ve learned however interesting, ask yourself ‘does the reader need to know this and does it move the plot forward’.
  • Blogs are a great place to find people who want to talk. I found many transplant patients this way who were happy to share their experiences with me.
  • Remember that although books are entertainment as a writer you are dealing with experiences that people have lived through. Be kind. Be sensitive.
  • Don’t assume everyone wants to be in the acknowledgements. After someone had helped me I mentioned in passing I’d thank them at the end of the book and they asked me not to as they didn’t want their boss to know they’d divulged information.
  • It’s okay to take artistic license to suit the story but I always state in my acknowledgements if I’ve done this (in ‘The life We Almost Had’ I credit a neuroscientist but mention I’ve had to progress science to fit my story.)

The Life We Almost Had‘ is currently 99p across all digital platforms during August. Download it from Amazon, iBooks, Kobo or Google.

You can preorder the paperback from Amazon or Waterstones or support your local bookstore. 

Find my psychological thrillers on Amazon here.

All books are available as ebooks, audiobooks and paperbacks.

Novel Writing – Should you include a prologue? #WritingTips

 

I began writing my debut, ‘The Sister‘, for fun. It was meant to be a short story. I hadn’t written any fiction as an adult and I hadn’t any qualifications other than a clutch of GCSE’s. I never believed I could write a book. I had always thought that to be a published novelist you needed a wealth of experience and a degree in creative writing.

When it got to the point that my ‘short story’ had reached 90k words I began to tentatively hope I could edit it to a high enough standard where I’d dare to submit it. Out of my depth, I was so grateful when a writer I met at an event offered to read the opening 3 chapters for me. I didn’t check where she was published, or how she was published. The fact she was in print led me to believe she knew absolutely everything.

Her overriding feedback was that my prologue was a huge mistake, ‘”readers hate them, agents hate them and publishers hate them. If you submit something with a prologue it won’t be read.”

I felt my face burn with embarrassment. I didn’t know the rules and I’d been found out for the imposter that I was.

Immediately I deleted my prologue, but now, several books on and with over a million copies sold I’m familiar with most of the rules and (whispers) here’s the thing. There aren’t any.

That writer, as it turned out, was right that ‘The Sister‘ shouldn’t have a prologue, but not for the reasons she said.

The prologue wasn’t needed. It didn’t serve a purpose and in a novel, every single scene, every single word needs to earn its place, prologue included. After The Sister spent two months at No. 1 I found the confidence to include a prologue in my second psychological thriller, ‘The Gift‘, because no matter what that writer said about people hating prologues, I don’t and first and foremost I’m a reader. I don’t write one for every book because not every story warrants one.

So how do I decide when to use one? ‘The Family’ is my latest thriller and I’ll use it as an example, I’ve included the prologue below.  The Family is a book about brainwashing, about a mother, Laura, and her daughter, Tilly, who inadvertently find themselves joining a cult.  Laura realises there is something very dangerous about the situation they find themselves in but Tilly has already fallen for the charismatic leader, Alex, and doesn’t want to leave. It’s important for this story that we see how Laura and Tilly find themselves in such a terrible situation so this wasn’t going to be a story that flings you into action on the very first page.

I wanted to give the readers an indication that the pace will increase throughout the book.  The prologue begins in the future and then chapter one begins several months before this. We can initially see the horrifying situation Laura and Tilly are in and then we work back to see how they got there. I enjoy this set up as a reader, forming my own conclusions as to what’s going on and why. I wanted this novel to open with a question. For the readers to feel involved, part of ‘The Family’ from the beginning so when Laura and Tilly get sucked into this tight-knit, claustrophobic group they can feel themselves there too.

We can see, when we read the prologue below, that someone has been shot but who has been shot and who has shot them? I love nothing more than a mystery and it’s been such fun hearing reader’s theories at the beginning of the book and then their reactions at the end (nobody has guessed both parts correctly as yet…)

Prologues are a great tool for grabbing attention, giving background, creating a twist (as the mine below does), and for providing a hook. A question. Writing from a different point of view or a different time – past, present, or future, something that sets it apart from chapter one.

I asked my son once, who is an avid reader whether he read prologues as I was genuinely shocked to hear some readers don’t.

‘Of course,’ he said, ‘but I never bother with the things at the end. The epilogue.’

‘Why not?’ I was horrified.

‘Because I already know how the story ends,’ he said.

Not in my books. There is often, as there is with ‘The Family‘, a twist on the very last line in the epilogue, but how to end a story is another blog post entirely.

Download ‘The Family’ for only £0.99 as part of the Amazon kindle monthly deal here and read the prologue below.

 

 

 

The FamilyPrologue

NOW

LAURA 

It all unfolds with cinematic clarity; the gunshot, the scream. Every detail sharp and clear. Time slows as her eyes plead with me to help her. In my mind I bundle her behind me, shielding her body with mine, but she is too far away and I know I cannot reach her in time.

But still I try.

My legs are weighted with dread as I run towards her; the fist around my heart squeezing.

A second shot.

Her knees buckle. She crumples like a paper doll.

The ground falls away beneath my feet and I crawl to her like the animal I have become. My palms are sticky in the arc of blood that has stained the floor red. Blood is thicker than water they say, but hers is thin and beacon bright. Adrenaline pulses through me leaving numbness in its wake as I press against her wrist, desperately seeking a pulse. With my other hand I link my fingers through hers the way we used to before I brought us to this place that has been our ruin. A lifetime of memories strobe through my mind; cradling her close in the maternity wing; Easter eggs spilling out of the wicker basket looped over her pudgy arm; her first day of school, ribboned pigtails swinging as she ran across the playground.

She can’t be gone.

Can she?

Fingers of panic press hard against my skull. The colour leeches from the room. A black and white hue descending upon me. I tighten my fingers around hers, afraid I’m going to faint. Afraid I’m going to let her go.

But then.

A flicker of eyelids. A murmur from her lips.

I lay next to her, gently rolling her towards me, cradling her in my arms. I can’t, I won’t leave her. Family should stick together. Protect each other. Instead, I chose to come here.

This is all my fault.

The drumming in my head grows louder – the sound of footfall. I don’t have to look up to feel their anger, solid and immovable.

The acrid smell of gunpowder hangs in the air along with my fear.

Looking up, my eyes meet the shooter’s, they are still holding the gun and sensations return, hard and fast. The pain in my stomach is cutting and deep and I am no longer sure if the blood I am covered in has come from her.

Or is coming from me.

Her top is soaked crimson, as is mine.

The pain increases.

Terrified, I tug at her clothes, my clothes, searching for the wound. Praying. Let her be okay. Seventeen is no age. Let it be me.

At last I find the small hole where the bullet has torn through flesh but before I can apply pressure to stem the flow of blood there are hands on my shoulders. My elbows. Pulling. Pulling.

Darkness flickers at the edge of my vision but still I fight against it. I fight against them.

My feet kick out, my teeth sink into flesh, but it’s fruitless. I am growing weaker.

Her fingers twitch. Once. Twice.

Nothing.

‘Tilly!’ My scream rips through me as I am yanked to my feet. ‘Tilly!’ I scramble for traction, every fibre of my being straining to reach my daughter.

I can’t.

I am still wrestling to be free as I am dragged, my feet scraping the ground.

But I know they’ll never let us leave here now.

Not alive anyway.

 

Download ‘The Family’ for only £0.99 as part of the Amazon kindle monthly deal here.

Clouds, Rainbows, Chocolate & Unicorns – My first RNA meeting!!

The second my book deal was announced and I was able to share I’d now also be writing love stories under the pen name Amelia Henley (you can read about that here), I joined the Romantic Novelists’ Association. The very second. Before I tweeted my news or posted on Facebook, I was eagerly signing up for membership.

I had waited a long time to join. I didn’t know exactly what the RNA was but isn’t the name wonderful? Romance conjures such evocative images (raindrops on roses and whiskers on kittens).

After I’d joined I was super excited to discover there are ‘chapter’ meetings held in various locations throughout the UK. My local one was Leicester. I was thrilled. My son is at Uni in Leicester so I’d be able to go to a meeting and then see him afterwards. Immediately I sent him this message telling him my news and sharing that I thought the Romantic Novelists’ meetings would surely consist of members lying on clouds, under rainbows being fed chocolate by unicorns.

He asked me what the actual benefits were.

Unicorns, chocolate, rainbows and clouds? I thought about it properly, my expectations were, perhaps, a little bit high. I didn’t know what the benefits were but I couldn’t wait to find out. I pondered what I should wear to give out that romantic vibe.

“Do you think my wedding dress would be overkill?’ I asked my husband.

He thought that it probably would.

I arrived late, flustered. I’d been writing and had lost track of time. Everyone was already there. Everyone already eating. The room crowded, I couldn’t see a seat. Luckily Sue Moorcroft, who I already knew spotted me lingering uncertainly at the door. She kindly invited me to sit with her.

Sue Moorcroft

Lizzie Lamb, who I’d already been messaging gave me a huge smile and told me she was glad I’d made it. Instantly I relaxed.

Lizzie Lamb

The other writers were lovely, LOVELY. I was made to feel hugely welcome and after so many solitary years spent writing it was fabulous to connect with a local group who had experienced the same highs and lows of publishing, and the same hopes and fears.

After food, those that had news to share, shared. There were new book covers, publication days, nominations for awards. Each announcement met with a huge round of applause. The atmosphere was encouraging, nurturing. It felt a safe space to be. Instinctively I knew that this group would not only celebrate each other’s achievements, they would also be a shoulder when things weren’t going quite so well.

Sharing news

Literary agent, Kate Nash, came along to talk about submissions and the industry which, even as a published writer I found enlightening.

There might not have been any rainbows or unicorns at the meeting but I found something even better – friendship and support.

Thanks everybody for making me feel so welcome. I can’t wait until the next meeting.

The most important thing I learned teaching Creative Writing

My husband is worryingly good at spotting potential murder sites…

Last week I taught my first creative writing class which you can read about here. It made such a change to be out of the house, generally I’m at home writing. Every. Single. Day. It’s where I’m happiest though, in my tiny study, in my pyjamas, dreaming up worlds.

During the workshop I was asked where ideas come from.

‘They’re all around us if we keep our eyes open,’ I said. Leaving the house isn’t the only way to find ideas of course but I did mention that for me I found inspiration in getting out, living life. ‘If we never go anywhere or do anything, we might find we’ve nothing to say. Nothing to write about.’

As I said this I was mentally calculating when the last time was I went out and did something different.

I couldn’t remember.

I thought about what I might write next once I’ve finished my current book.

I had no idea.

And I was a little worried.

As my writing schedule has become busier I realise that lately I’ve been viewing life solely through my laptop and missing out on new experiences. The less I’ve been venturing out the more I’ve noticed my anxiety has also increased. It was time to make a change.

At home I relayed this to my husband and on the Saturday morning he told me to pack an overnight bag and after loading the dog in the car, we headed for the coast.

“Are we nearly there yet?” asked Granger for the millionth time.

At first I was a little worried about leaving my current characters Libby and Jack behind. I’d left them in an awful situation, but promising them I’d sort it all out on Monday I put my story out of my mind and anchored myself to the present moment.

Everywhere I went sparked at idea. Walking along the beach in the bright sunshine, a potential love story for my next Amelia Henley book. Taking Granger down to the deserted harbour at dusk, the perfect setting for a crime for one of my next thrillers. High up on the sand dunes, overlooking the beach huts, the glittering sea spread before me was, I thought, so romantic, a great spot for a proposal. (But those beach huts could well be hiding secrets). Walking away from the sand dunes, into the forest there was a small abandoned building.

My husband nudged me, ‘You could bury a body there and nobody would find it for months.’

In the crowded coffee shop, snippets of conversation, mannerisms of customers. A real opportunity to study people (in a non-creepy, non threatening way…)

I’ve come home refreshed and revitalised, not with a new plot, but with a new setting that every now and then I’ll bring to the forefront of my mind and add detail to, and by the time I’m ready to start a new novel it will be fully formed.

Already I am excited for it.

I learned a lot teaching my class but making time to get out is perhaps, for me, the most important lesson of all.

It’s never too cold for a paddle

Creative Writing Workshop – the BIG mistake I made

The room looked HUGE

Almost a year ago I was asked by a friend if I could pull together a private creative writing workshop.

Initially, I said no, I’ve written a few books, sold a few books, but still felt I was winging it as far as being an author was concerned. I certainly didn’t feel qualified to teach anybody anything.

She asked again a few weeks later. This time I was going through a (stupid)  ‘pushing myself out of my comfort zone stage.’ Figuring I had months to prepare I shoved aside my fear of public speaking and agreed and then promptly buried my head in the sand. If I didn’t give it too much thought, it couldn’t be happening.

Only it was.

At the beginning of this year I realised that I only had a few weeks to prepare. I never go into things half-heartedly so panicking I ordered literally every ‘how to write a novel’ book I could find (and there are a LOT out there). I had many sleepless nights. I had no idea what I was doing. I knew NOTHING. I  had previously been told by a copy editor that I mixed my concrete and my abstract nouns (apparently this is bad), got my clauses in the wrong order (apparently this is worse). I was an imposter with no formal qualifications.

I spent hours – HOURS – online, looking at what other courses offered, realising that to give a basic grounding in the fundamentals of writing I needed 6-8 weeks. I had an afternoon. And yet, as a former course junkie I knew that many workshops contained a lot of waffle, ice-breakers, time-filling exercises that didn’t always mean a lot. I wanted to write a programme which covered ideas, plot, point of view, show don’t tell – a lot to cover in a relatively short period. I spent a ridiculous amount of time pulling together content, my fourteen-year-old son testing everything I’d produced. 

‘I love the exercise with the news headlines,’ he said.

‘It took me half a day of trawling the internet to choose them,’ I told him.

‘Mum! You’re a writer. You could have just made them up.’ 

He had a point. I’m an idiot.  

I carefully wrote and rewrote my itinerary, growing quietly confident I could do it. Until several days before when the thought of sitting in front of a room full of strangers brought me out into a cold sweat. I roped in fellow author, Darren O’Sullivan.

Not only is Darren a former teacher, he’s a good friend and a fabulous writer (check out his books here). We often talk at literary festivals and events together and as our approaches to novel writing are completely different  I knew we’d both bring something unique to the course. Aside from that, we always have a blast. 

And we did.

Who can be nervous with Batman at their side?

The course participants were lovely. Really lovely. Thankfully, not one of them came in waving a grammar quiz at me, or demanding to see my (non-existent) degree.

During the afternoon, I was asked a question about whether it was bad to write out of order. ‘The thing I love about writing,’ I said, ‘Is that there’s no right or wrong way to do it.’ As I spoke I wanted to smack my palm against my forehead. In the lead-up to the course I had got it horribly wrong by trying to over complicate something that is fundamentally simple. It’s not easy to write a book, I wouldn’t claim otherwise, but there are things you need to know and things you don’t. I STILL don’t quite understand concrete and abstract nouns and why they shouldn’t go together. If I’m honest, I don’t really care. What I do know is how to construct a story that keeps readers turning the page, the elements every novel needs. My hours of angst had been unnecessary. Ultimately ‘write the story you’d like to read’ still remains the best advice I can give.

Darren and I thoroughly enjoyed the workshop and hopefully so did everyone that came. They all left with the start of a piece of writing that they can develop, a smile and a copy of my latest thriller, The Family and me and Darren got to take home the leftover cake. 

I learned a lot during the workshop, both about myself, (I can do things if I push myself) and things I’d forgotten about novel writing that will help me going forward, including the one basic thing I’d let slide recently. I’ll be sharing that in my next post.

Why the HQ New Voices literary showcase event made me furious

Last night was the HQ Stories New Voices Showcase. An evening where over 70 journalists and bloggers would gather in the impressive function room at the Harper Collins Offices, with the sweeping panoramic views of London, to listen to authors pitch their forthcoming novels.

We were given sixty seconds each to talk about our plot or the inspiration behind our stories. When I read the brief I thought sixty seconds wasn’t long enough to talk about my forthcoming Amelia Henley love story, ‘The Life We Almost Had.

I was wrong.

Some of you know I once had a phobia of public speaking – not a touch of anxiety – but actual fainting or vomiting or sometimes both. Some of you know I had a course of hypnotherapy to overcome this phobia when I was asked to talk at Althorp Literary Festival about my thriller (you can read about that here.) I’ve spoken at many events since my hypnotherapy – I’ve thoroughly enjoyed the panels and the Q & A’s I’ve taken part in.

I was aware that this pitch would be the first time ever I’d be on stage alone but it was just sixty seconds. It would just pass in a flash, I’d thought.

I was wrong about that too.

Patiently I waited at the side of the stage for my turn listening to the other authors pitch their books, some with humour, some with true stories behind them, all with a confidence I did not feel. As I listened to them I knew I wanted to read each and every one of their books.

It was my turn to talk about ‘The Life We Almost Had’. The walk to the podium felt extraordinarily long. Eyes weighing heavily on me as I began my polished pitch only suddenly it wasn’t so polished. I was talking about something personal, my family, and voicing aloud for the first time the sad inspiration behind my story brought with it an onslaught of emotions that I fought to keep in check. Sixty seconds felt like the longest time but when I’d finished I realised I’d missed out a vital sentence in the middle of my pitch and thought without it, it might not have made sense to anyone.

On the train, I was furious with myself all the way home. Sixty seconds. How could I have messed up sixty seconds when my story means so much to me. When my characters Adam and Anna mean so much to me.

At home I opened Twitter. I’d received a lovely message from a book blogger. “When you said at the end of you speech ‘At the beginning of the book Adam and Anna question whether love can be eternal, by the end of their story they have their answer’ has made me desperate to read it.”

Tearfully I replied, that was the reaction I had hoped for. That’s when I realised. It was because I cared so much I was angry and that was something that all of the authors in that room had in common last night.

We cared.

Our stories might be in different genres but we were all passionate about the worlds we had created. We all wanted to share those worlds and it was that passion that made me desperate to read every single book I’d heard talked about, it wasn’t necessarily what the author said (or didn’t say in my case). We all spoke from the heart and are all immensely proud of the books we have written and ultimately that was what shone through and made the evening such a special one.

Big thanks to HQ for arranging the event and to everyone who came along and supported it. I loved meeting so many new people and am really grateful my editor invited me along. And a huge shout out to the incredible authors last night who stepped out of their comfort zones (and in my case my pyjamas) to share their stories. I had a fabulous time.

Book bloggers Linda Hill, Jacob Collins, Sarah Swan

New book deal. New genre. New beginnings. My HAPPY news!

Writing thrillers is something I am super passionate about. It fulfils the Enid Blyton’s Famous Five obsessive inside of me, the Scooby Doo and the gang need to solve the mystery addict. But I’ve always had another dream. A dream I clutched tightly to my chest promising it one day, eventually, and when I’ve got more time but I never seemed to have more time and eventually never came.  It felt like a secret. A secret I couldn’t quite share. You see, I’d had my heart broken at the age of eight after reading Little Women and that was when I knew with certainty I wanted to one day write a story which would make readers fall in love with the characters, cry for them, hope, question ‘what would I do in that situation.’

It was while I was on holiday in Lanzarote, gazing out to sea that I saw a scene in my mind play out like a movie. Although the scene was imagined it was very real to me, along with the characters, Adam and Anna. Unusually, the idea came fully formed, as though it was their story and I just had to transcibe it.

I sat in a beach bar with my son who is already such a talented writer and I told him I had had an idea. ‘It’s a bit crazy though’ I warned him. ‘All the best ideas are,’ he wisely said. ‘You must write it,’ and so there and then I began to draft notes.  Their journey begins in Lanzarote (although I’ve renamed the island) with a love lock. I was already so invested in Adam and Anna as a couple I purchased them a love lock and fastened it to the chain fence at the beautiful cove where we were staying (which also features in the book). I wrote for the entire plane journey home.

Back at my desk, I picked up where I’d left off with my latest thriller and when I tweeted that I had been so excited about my new idea I felt so sad I had put it to one side. I knew I owed it to Adam and Anna to put down my current work in progress and finish their story. I owed it to myself to write something for pure joy.

 

At Christmas I was in a cab heading to a London event with my agent. ‘How’s the new thriller going?’ He asked. I fiddled nervously with my seatbelt. ‘I’ve stopped working on it. I’m writing something new. It’s not a thriller.’

‘What is it?’ He asked.

‘I don’t think it fits into a genre.’ I explained the concept to him. ‘It’s just for me. I don’t expect anyone else to love it but I need to do this. To write for the love of it rather than for publication.’

‘Then you must do that,’ he said. ‘And if when you’ve finished it you’d let me read it, I’d be delighted to.’

The book came together quicker than anything I’ve ever written before. I wrote constantly, long hours, every single day, not because of a deadline, not because I had to, but because I wanted to.

A few months later I had a novel I was immensely proud of. Tentatively I sent it my agent, he read it, loved it. ‘I’d like to show your editor this other side to your writing, do you mind?’ He asked.  Although I was worried my publishers might be annoyed I’d spent months working on something outside of my contract, I agreed.

Fittingly I was in Lanzarote again, on the same beach, watching the sun set, when the call came to say that my editor had read it and adored it. She’d shared it with the rest of the team at HQ, Harper Collins who thankfully felt just as enthusiastic. They wanted to make an offer.

I cried. A lot. I’d followed my heart and it had paid off. To celebrate, we drank cocktails on sitting on the sand.

Today, I’m so thrilled to be able share with you that my debut Women’s Fiction novel ‘The Life We Almost Had’ will be published this July by HQ under the pseudonym Amelia Henley (you can read The Bookseller announcement here.)

I shall still be writing thrillers under Louise Jensen, I’ve The Stolen Sisters publishing this October. Next summer there will be another Amelia Henley book – this time the heart-breaking story of Libby and Jack, and a further thriller in the autumn.

I feel incredibly blessed to be able to write in different genres and am hugely grateful to my agent, my editor and the whole team at HQ for supporting me in my new publishing strand. I can’t wait to see ‘The Life We Almost Had’ in the hands of readers. You can pre-order it here.

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