The BIG mistake I’ve made writing my new thriller – Diary of a novelist – August 2022

Hello

During my last update in May I’d hoped to get back on track documenting the progress of my latest thriller month by month. Sadly, my health has deteriorated further and I feel so ill and exhausted most of the time I’m not making as much progress as I’d like. I did venture out to the Harper Collins Summer Party. I hadn’t been out for months and although it was tiring it was lovely to briefly catch up some author friends at the gorgeous Victoria & Albert Museum. Unfortunately it took so much energy I made the difficult decision not to go to Theakstons Crime festival at Harrogate this year but have loved seeing everyone’s photos online.

Anyway, I’ve been slowly editing my next thriller, publishing Spring 2023.

I realised when I was reading back the first draft that I made a mistake with this book, that I had thought was in pretty good shape. This story covers two timelines and 6 points of view (honestly not as confusing as it sounds). This meant, more than ever, I had to know my characters and my story inside out. This is where I went wrong. With so many characters reacting to circumstances and each other I needed to know exactly how they were acting both on and off the page and I hadn’t thought it through enough. Characters began behaving, well… out of character, because in-between their chapter points of view I wasn’t entirely clear on what they were doing or how they felt.

The timeline is always my nemesis, this time I needed a mammoth one to include what everyone was doing when they weren’t active in the story. It was worth the extra effort because the story now flows better than it did before. If you’re writing a novel, something isn’t quite right and you can’t put your finger on what I’d recommend you have a think about the ‘off the page’ action because this will impact everything the characters do when they renter the story.

This month I’ve also been writing my new monthly fiction series ‘Confessions’ for My Weekly magazine. Each part sees a client confess something to Stella, a hairdresser. I’ve adored creating Hawlington Cove where I’ve set the story, and the community who live there. I’m learning a lot about constructing short stories and a series and I’ll be talking about how I approach both of those things soon.

For now, wishing you a happy remainder of the summer.

Louise x

Monthly round up

Special offers – ‘All For You’ my latest psychological thrillers is currently 0.99 on kindle and £2.50 on paperback

‘The Family’ is also 99p right now.

Highs – The cover reveal for my forthcoming Amelia Henley book ‘From Now On’

What I’m reading – The New House – Tess Stimson

What I’m watching – Outlaws BBC iPlayer – Stephen Merchant is a genius

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Diary of a novelist – December 2021

Happy New Year!

It’s part 4 of my Diary of a Novelist series (catch up from part one here). Working on the first draft of my latest psychological thriller has been a challenge so far but my December was a LOT more productive than I’d hoped. 

Week One

Panic has set in. Unusually, this year, I’m intending on taking at least a week’s break over Christmas – usually, other than the big day itself I write almost every day of the year but I’m feeling so exhausted it’s take a break or burn out. Stepping away from my manuscript midway through a first draft isn’t ideal. I don’t want to lose the sense of story or connection to the characters. My editor has let me know the edits on my next Amelia Henley love story should be with me by the end of the year, followed by the edits on my 2023 thriller so it’s likely I won’t be returning to this book until the Spring. I NEED to cobble together a coherent story, even if I only bullet point chapters or scenes. I carry on working on the end, weaving in all three points of view until I have an ending that is so dark I will likely change it but it’s an ending – hurrah!

Week Two

Finishing the end has forced me back to the middle which I have entirely skipped. I have zero ideas what might happen here so I take my dog for a walk and think about my beginning and my end while letting ideas brew. I find getting outside, away from the house, really kickstarts my creativity. When I return I have a few potential scenes and a big twist in mind so I dig out my index cards and jot them down. Once I can see them in black and white other ideas begin to germinate so I write each idea on a separate index card and then spread them out over the living room floor, rearranging the order, discarding the ones that don’t fit until I have some sort of bridge between the middle and the end. 

I work in Scrivener so, following my index cards, I open a new section for each idea and transfer my notes. With experience I now know roughly how many words I like per chapter (between 1200-2500) and I can tell that I have enough story to take the script to around 88k words – enough to fill a novel. 

Week Three

I’m frantically expanding my notes as much as I can so it’ll be easier to pick up in a few months when I get back to it. Really, I should have visited some old Tudor houses by now for research but the ones that are open to the public are full of Christmas events and I don’t want to come into contact with anyone and potentially catch Covid so instead of writing any detail I’m inserting ‘XX’ into the places I need to fill once I’ve managed to visit some locations next year.

Still, the story is the main thing and I really happy with the way it’s taking shape. I’m writing between 8.30-5.30 every day (usually I only write new words in the mornings). My eyeballs ache I’m so tired but my word count is shooting up and I feel quietly confident I’ll have some sort of draft by Christmas. 

Week Four

I have a zoom meeting with my editor about my forthcoming release ‘All For You’ which publishes 20thJanuary. With only 3 weeks to go I need to arrange an online launch and prizes and SO MUCH.

Breathe. 

The event is set up on Facebook (do come and enter some of the giveaways here) and after a final push on my 9th psychological thriller, I have a shorter than usual, very patchy with lots to fill in draft. Christmas Eve my edits arrive so that’s my January sorted. Time to switch off, spend some quality time with my family with lots of bracing dog walks.

New words written – 32,000 (Total of wip 72500)

Highs – Finishing what I’m loosely calling a first draft

Lows – Not getting any research done

What I’m reading – The Salt Path – Raynor Winn 

What I’m watching – The Landscapers – Olivia Coleman is brilliant

Special offers – ‘The Family’ is 99p across all digital platforms. Download from Amazon here and discover why, once you’ve entered Oak Leaf Farm, you’re NEVER allowed to leave… 

Event – ‘All For You’ live Facebook launch with prizes, details here

Newsletter sign up – subscribe here and get two free short stories and access to exclusive giveaways.

The Art of Loving You prologue & why I love prologue – novel writing

Anyone who reads either my Louise Jensen psychological thrillers, or my contemporary Amelia Henley fiction knows I love a prologue. Here I’m sharing the opening of my brand new release, ‘The Art of Loving You’ which you can download for just 99p on any digital platform during August. (Amazon link here).

PROLOGUE

Four phone calls. 

It took four phone calls to tip my world off its axis. I remember them all with sharp clarity; the things I wanted to know, the things I wished I’d never been told. The disbelief, the fear, the hope. The impossible, impossible choice I am faced with. I want everything to slow down. 

Stop.

‘I can’t …’ What I can’t do is look my sister, Alice, in the eye. It’s too much. All of it. 

‘Say yes, Libby.’ She’s crouching before me, reaching for my hand. I snatch mine away. As vivid as the memories of the calls are, it’s the time in between each one I am struggling to recall. Alice says shock has the power to whisk memories behind a hazy curtain, sometimes replacing them with a better, shinier version – the way we wished things were. The way we wished they could have happened – and she’s probably right. Right about that at least, but the rest? I have to remember if I’m to make the right decision. Again, I try to summon a slide show in my mind but the images are as fuzzy as an out-of-focus photo, nothing quite making sense. ‘I think …’ I tail off, unsure what I think. What I know. Alice has been telling me a new life, a better life is what I need. What I deserve. 

That word plucks a hollow laugh deep from my belly. Deserve. Do I deserve … this? 

‘You know what you have to do, Libby.’ Her voice is thick with tears. ‘For your sake. For Jack’s.’ She adds softly, ‘For mine.’ 

Sometimes I hate her. 

Should I do what she is asking? If I agree, it’s an admission that my life has been built on a lie and the childish part of me taunts; why should I give her what she wants when I can’t have what I want? 

‘Please, Libby, please,’ she pleads. ‘I know it’s a big ask. I know you weren’t expecting this – none of us saw it coming but …’ One whispered word. ‘Please.’

Neither of us speak. The clock ticks. In the distance the thrum of a tractor. Alice’s perfume fills my throat, something light and floral.

‘Jack—’

‘Don’t speak his name,’ I snap. 

She flinches but still she doesn’t leave. She’s waiting for an answer as she tucks her long blonde hair behind her ears. My eyes flicker towards the nicotine-yellow ceiling we never did get round to painting bright white, as though I might find the right response written there. 

Yes or no? 

Yes or no? 

Yes or no?

The words are loud. I raise my hands to my head, fingertips digging hard into my scalp. I can’t decide. I won’t.

Jack.

I have to.

Think.

‘You know if I could change things, I would,’ Alice says softly. She places her palm against my cheek; it’s cool and I lean against it, allowing her to take the weight of my head which is heavy with thought. With doubt. For the first time I look at her properly. Her eyes, the same green as mine, are rimmed red. The whites streaked with tiny blood vessels from where she’s been crying. She is no more together than I am. This is a torturous for her as it is for me. ‘If I could go back …’ She falls silent before she can blame herself again. I can’t bear her guilt. Her shame. I have enough of my own.

I shift my gaze around the room which was once warmed with love but now feels as chilly as my cold, cold heart. If we could go back, I would return to the exact moment everything changed. It was the day Jack and I moved in here. I allow my mind to travel, tumbling down the rabbit hole to that ordinary Thursday when it all began. 

The point which had led to this. 

The memories bring me pleasure. 

Pain.

Think.

I have to make my choice.

Yes or no?

I have to give Alice my answer.

Yes or no?

I have to tell her now.

Before it’s too late for her, for me.

For Jack. 

Think.

Choose.

Time is running out. 

Yes or no?

In the opening to ‘The Art of Loving You’ my hope is that I’ve intrigued readers enough to want to read on. To wonder what has happened between Libby, Alice and Jack. Not all of my books have prologues but I do enjoy them as a reader and a writer and you can read more about why I find them so valuable and whether your novel needs one on an earlier blog post here.

If you’ve enjoyed what you’ve read you can download ‘The Art of Loving You’ for 99p or order the paperback or audio book via Amazon, Waterstones, Kobo, Google Books, Apple.

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. 

 

6 years writing – 10 books written – here’s what I’ve learned

 

Six years ago this month, following a drastic change in health circumstances, which had led to years of chronic pain, and clinical depression I knew for the sake of my mental health I needed to find a hobby. With limited mobility, there wasn’t much I could think of but then I remembered how much I’d loved writing as a child, how I’d had a burning desire to become an author until I was told at secondary school this wouldn’t be a viable career option.

I decided to try writing a short story.  Two characters came to mind, Grace and Charlie, lifelong best friends. The story begins with Grace digging up a memory box that the girls had buried several years before on Grace’s sixteenth birthday. Grace hopes to the box might contain a clue to explain Charlie’s last words before her mysterious disappearance – “I’ve done something terrible, please forgive me.”

My short story soon became 90k words of a (terrible at that stage) novel but I’d fallen in love with the girls, with their story of friendship and loyalty and courage and I rewrote and rewrote until it was ready to submit. I’m eternally grateful a publisher took a chance on my psychological thriller – The Sister – and turned my hobby into a full-time career.

Now, just six years on I am writing my tenth book. (Five have been published, two are due for publication this year and two for next year and I’m working on something new). I’ve sold well over a million copies, been translated into twenty-five languages, and although I can’t, of course, speak for every writer I wanted to share my opinions on some of the things I have learned along the way.

1)        Write the book you’d love to read. It’s so tempting to try and follow market trends and write a book you think has more of a shot of being published. Don’t. Market trends change so quickly you’ll always miss the boat. You spend such a long time with a manuscript I think if you’re writing something you genuinely love and are passionate about it shines through the finished product. Although my thrillers have been hugely successful I’ve also started writing high concept contemporary fiction in a different genre under the pen name ‘Amelia Henley‘ because I had a story in my heart I couldn’t let go. (You can read more about writing the story you want to rather than the story you should in a previous post, here)

2)        Don’t follow the rules. They are endless and who made them up anyway? Use common sense – if you write a 300k word romance it’s unlikely to be published but don’t be afraid to trust your gut. Prologues, for example, are often the source of much debate and I wrote a recent post on my opinion, which you can read here.

3)        Don’t compare yourself to others. This. Is. Soul. Destroying. (Not just in writing but in every aspect of life). There are always going to be people you aspire to and that’s a good thing but constantly comparing yourself to others is stressful and nothing stifles creativity like stress. The writer that’s shouting about a new deal on social media – be happy for them – your time will come and you don’t know what they are dealing with in their personal life. Rarely are things as glittery and shiny as they appear online. The writer that’s written 5k words today and is SO HAPPY – doesn’t affect your progress at all, it only changes the way you feel about it. Most writers I know write far quicker than me but it doesn’t matter. I write, on average 1000 words a day but I edit as I go (see No. 2 – I don’t follow rules) and am generally very satisfied with the quality I produce. Every word builds a sentence, every sentence a scene, every scene a chapter, and then, eventually, you’ll have a book. It isn’t a race.

4)        You won’t run out of ideas. This used to terrify me ALL OF THE TIME. I’d see writers online (and back to number 3 here) and worry that they have notebooks full of ideas and I had one – ONE – that I’d be working on. So far, when I’m coming to the end of a first draft, or shortly after, another idea will start to brew but until then I have no idea what I’ll write next. My brain can’t seem to cope with thinking of more than one thing at once and that’s okay. Ideas will come when you least expect it. (Read my previous post on ‘Where do ideas come from’ here.)

5)        Don’t force the words to come. We hear much in the writing rules (see no. 2) about how writing should be a ‘discipline’ and we ‘must’ write every day. To me this sounds like a punishment and writing above all else should be enjoyable. It is important to try and form a routine and not to wait until inspiration strikes (spoiler – it doesn’t always strike) but sometimes forcing yourself to sit in front of a blank page is demoralising. If I’m stuck on a plot point I step away from my computer. I go for a swim and 99% of the time the words will begin to flow again once I’ve had a break.

6)        Don’t sweat the small stuff. Punctuation and grammar. Here’s my confession (whispers) I don’t know what an abstract noun is or a concrete noun is or why I shouldn’t use them together. This was one of the first things a copy editor pointed out I was doing wrong. I’m still not entirely sure. I try hard with my drafts, I chuck the odd semi-colon in to prove I’ve made an effort but I get things wrong as we all do. It makes me sad when I receive emails from people telling me they want to write but they can’t because they are dyslexic or feel they are too uneducated and can’t get to grips with grammar and punctuation. Of course, polish your manuscript as much as you can but the MOST important thing is you have a good story to tell with strong characters. There are proofreaders, copy editors, beta readers, even friends and family who can help iron out any niggles. Don’t let worry about the final touches to a manuscript put you off writing one.

7)        Don’t become obsessed with the charts. If you’ve published a book it’s so tempting to be constantly hitting the refresh button to see where you chart on Amazon. Don’t.  Become. Obsessed. The Amazon charts are a complicated beast comprising of Kindle Unlimited, Prime Reading, Kindle Firsts etc. which all count towards chart positions so a high chart position doesn’t always necessarily equate to straightforward sales. Remember, stress stifles creativity.

8)        You can’t please every reader. If you’ve got a book out there you’re going to be tempted at some stage to read reviews and it’s human nature that you’ll gloss over the good ones and the bad ones will lodge in your mind. My debut, The Sister very quickly sold over half a million copies and I read every single review and tried to please every single one of those reviewers while I was writing my second book – The Gift. I sped up the pace, slowed down the pace, put in more twists, reduced the number of twists, tied myself in knots. You just… can’t.

9)        Celebrate EVERY LITTLE success. This is SO IMPORTANT. Remember, that writer on social media who is having the Best. Time. Ever. They’ve had knockbacks too. We all have. It’s an industry of unavoidable lows, which makes it even more important to appreciate every single good thing that happens. Those successes will keep you going through the inevitable low times and throughout those low times never lose hope. Things can turn around when you least expect it.

10)      Don’t be embarrassed to call yourself a writer. Don’t be ashamed to want to make a living out of it. This is something I struggled with enormously for a very long time. Looking at my shoes and mumbling vaguely whenever anyone asked what I did for a living. Be proud. Don’t use the term ‘aspiring writer’ if you write, you’re a writer. Also there’s a weird thing (and I’ve been guilty of it myself) where some writers feel they have to say they write for the love of it and not for financial recompense and while you do have to love writing to write there’s nothing wrong with ambition. I have a mortgage to pay and children to feed and this is how I chose to do it. You can read about the moment I finally felt like a ‘real’ writer here.

My latest psychological thriller – The Family – is currently 99p across all UK digital platforms. Download a copy from Amazon here (back to paying my mortgage and feeding my children…)

Thank you!

 

 

Lockdown – How my reading & writing habits have changed – #AuthorLife

Laura & Tilly are confined to their cult

My latest thriller is called ‘The Family’. It’s the story of Laura and her daughter, Tilly, who are indoctrinated into a cult. It’s set in a remote part of Wales and at the time of writing I had to rely on my imagination to put myself inside the heads of Laura and Tilly. How might they feel to lose their freedom, almost overnight? To be confined to the farmhouse and the surrounding land the cult reside in? To be forced to spend each and every day with exactly the same people? I crafted my story with the sense of feeling trapped, of claustrophobia.

Laura’s and Tilly’s tale, as well as being terrifying is also an emotional one so every now and then I’d step away from my computer and out into the bright sunshine. Meet friends for lunch. Go for a swim. Before returning to Laura and Tilly who were still trapped in the same place, with the same people.

Now of course, in these unsettling and uncertain times we live in it isn’t too much of a stretch to empathise with Laura and Tilly. To feel what they are feeling, and as someone who suffers with acute anxiety these feelings are both uncomfortable and unwelcome.

At the start of lockdown I couldn’t concentrate. I couldn’t read. I certainly couldn’t write.  At best I felt a constant low-level anxiety: scared for my family and friends; daunted by homeschooling; worried about our income, a shortage of food; the list was endless: at worst I felt a heavy dread which rendered me unable to focus.

Like everyone, I have been through tough times before so I did what I always do, increased my mindfulness practice. Meditating three times a day instead of once. Writing in my gratitude journal each morning and night instead of solely before bed, and gradually my tumultuous emotions began to settle.

I began to read again, choosing, not one of the many proof thrillers I am sent, but carefully selecting something that wouldn’t feel like work. I picked Louise Hare’s ‘This Lovely City,’ and for the first time, in a long time, my reading mojo came back. I lost myself in her story, her characters and for a while, I was able to forget, and that’s what a good book can do – transport you somewhere else entirely. Now I’ve started Tom Ellen’s ‘All About Us,’ which I’m equally enjoying.

My cosy reading corner in my study

I itched to write again, but what? I am waiting for my edits for my thriller which is publishing next year and also for my second contemporary fiction story written under the pen name ‘Amelia Henley.

My desk is (mostly) tidy…

The logical part of me knew I should write another thriller. Until my debut contemporary fiction book ‘The Life We Almost Had’ is released in July I don’t know whether there will be a market for future Amelia Henley books but as always, I had to follow my heart and write the story I’d loved to read. A story, as my Amelia Henley stories are, about love and relationships. I began penning the lives of siblings Charlie, Nina and Duke and their complex and complicated relationship. Whether this book will ever find its way into the hands of readers I don’t know but I’m loving writing it and finding that chink of happiness is so important right now.

Later in the year I’ll begin a new thriller, I’ve had a character in my mind for the past couple of years. I feel so extraordinarily blessed I can create worlds to escape to.

Have your reading habits changed and how are you occupying your time? Do let me know in the comments below.

The Family’ is currently part of the UK Kindle Monthly Deal – download a copy today for just 0.99p.

The Family‘ will be published in the US on June 9th – you can preorder it here. I’m loving the fabulous cover Grand Central Publishing have designed!

My chilling US cover

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.

Drinking – 100 Word Flash Fiction

Photo prompt © Ronda Del Boccio

My heart sinks.

He’s been drinking again.

This I know from the flash of anger in his eyes, the purposeful way he strides towards me. My knees tremble as I stand my ground. Last time he threw my favourite ornament at me and it shattered as it hit my head. It left a scar.

I still love him.

He never drinks at home.

He’s been with her.

She enables him.

She loves him too.

But I wish my mother would stop giving my two-year-old orange squash.

He can’t cope with the additives.

I can’t cope with his personality change.

 

It’s been months since I last took part in Friday Fictioneers. I’ve been so busy launching my 5th psychological thriller ‘The Family‘ but thought I’d join in the fun again today before I get stuck into the structural edit for next year’s release ‘The Stolen Sisters.’

Friday Fictioneers is a weekly 100-word flash fiction challenge inspired by a photo prompt and hosted by Rochelle Wisoff-Fields. Read the other entries and/or submit your own story here

An evening with Louise Doughty (this is how she writes) & a return to prison?

 

Last night I was fortunate enough to be invited to a private event hosted by Laura Devine Solicitors (I first met Laura in prison but more of that later) which featured Louise Doughty speaking about her new book, Platform Seven, as well as raising money for The National Literary Trust.

Before I continue I’ll say I was saddened and shocked by the statistics quoted by Fiona Evans who was there representing The National Literary Trust relating to the reading ability of our children. SHOCKED. You can read more about their fabulous work and how you can help here.

Fiona introduced Louise and I settled back with a glass of wine and the most delicious canapés I’ve ever eaten, eager to find out how she approaches novel writing, nine novels in (9!!).

Firstly, Louise publishes a book roughly once every three years but she’s still hard at work in the period between each publication. Currently on a book tour for Platform Seven, she admits that sometimes she wakes up and wonders what city she’s in. The work promoting each book, plus other projects such as her involvement in the TV adaptation of her novel, Apple Tree Yard, has kept her busy but she also spends a lot of time researching each novel before she begins writing. With Platform 7 she spent the night on Peterborough station to see how it felt. Grim, I should imagine.

The thing that interested me most was the way Louise spoke about planning a novel and, being permanently obsessed with how other authors approach the first draft, I did grill her about this afterward, topping her glass up with wine, hoping she’d become so relaxed (drunk) she’d give me the magic formula. But of course, there isn’t one.

Louise says she starts with a rough idea of what the book might be about and makes notes (and like me she can never later read her own handwriting) but for her, the story is all about character. She explained that she feels if she outlined her stories before she began writing them they wouldn’t have that authentic feel. In her (vast) experience she believes that if characters are written to act a certain way to fit a planned plot then the characters may not feel realistic. She cares about the characters she writes, and for her, she lets them lead the way through the story as they naturally evolve. She told me, ‘If I didn’t care about my characters, if they were behaving in a way that didn’t suit the people they had become as the novel progressed, just to suit the story, why would readers care about them?’

Using the character first, plot second approach eventually leads Louise to a point in her book where she has key scenes and chapters and research to use and then she lays it all out before her, and pieces it together like a jigsaw.

This is a method that clearly works for her with her huge success.

Later on that evening, I found myself catching up with Neil Barclay, the librarian of HMP Thameside. I first met him when I eventually visited the prison’s book club after declining his invitation to visit many times due to The Fear, you can read about my visit here.

He’d been following my career since with interest and asked me lots of questions about past and future books. He also asked if I’d go back and teach some creative writing workshops in the prison.

‘You’ve changed.’ He told me pointing out that before I was hesitant in talking about writing, not convinced I was a ‘real’ author. Not sure I had anything valuable to say. I’m still not sure I have anything valuable to say BUT events like last night help me to grow in confidence.

Louise Doughty’s approach to writing the first draft is very different from the approach Sarah Pinborough takes which I learned about last week during an event we did together – you can read about Sarah’s approach here.

Each time I listen to another author, my layers of self-doubt shrink a little. I’m not doing it all wrong. There is no wrong. As writers, it’s trial and error to find the right process for us and that may process may change day-to-day, book-to-book, and that’s okay.

Knowing this, understanding this gives me confidence in the way I work but it doesn’t stop my curiosity into how authors write.  It’s something I will also find fascinating.

Thanks to the always inspirational Laura Devine and her amazing team who are such an incredible support to the literary world and charitable works.