This is a blog you’ll enjoy if you like writing! I write for magazines in the UK and abroad and I am also the Agony Aunt for Writers’ Forum magazine.



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Do all stories need conflict? and How do unknown writers get published?

A couple more question from my post bag at Writers’ Forum 🙂

Q: Do all stories have to feature conflict, resolution and growth, with false hopes and disappointments along the way? I appreciate that a straightforward happy little narrative would be largely purposeless and therefore unengaging, but I find it hard to accept that all stories should follow the ‘story arc’.

A You are absolutely right when you say that a straightforward, happy narrative might be unexciting to read. I call stories like this linear, i.e. a piece of writing that moves in a straight line with no surprises to a conclusion that is largely predictable. I think that there should be a story arc, but that can mean many different things.  My personal definition of a story is a piece of writing where a character begins with a problem or conflict, which is resolved by the end in a satisfying, but unexpected way. The character should change in some way by the end. This provides the main arc of the story. I don’t think this can be too formulaic.

It’s not a case of putting in complications or ups and downs for the sake of it (as I thought when I first started writing stories).  They all have to be relevant, both to the initial problem, and also to the character. There is huge scope in this. You can use different structures, you can use flashback, and you should use emotion, which for me, means writing from the heart. You can create twists by the use of misdirection. You can create surprises by withholding information from the reader.

Much depends on the length of the story. It’s difficult to have a big story arc in a flash fiction piece of say 500 words or even 1000. But there should still be some kind of story arc or progression. I hope this helps to clarify.

***

Q This magazine seems to be full of advice for writers who have already ‘made it’ and had their work published. However, there are still many of us who are trying to ‘make it’ and from our side of the fence getting published can sometimes feel like an impossible feat. From here, it seems that to sell your work and be published, you already need to have been published previously. But what if, like me, you don’t have any previous examples or clippings to show? How do you then sell your work and get published?

A Let me reassure you that you don’t have to have been published to get published. We all have to start somewhere. The key to getting published is to write what publishers and editors want. So first you need to know what that is. And you can find out by doing your own market research. Here are my top tips on market research.

  1. If you want to write for a particular magazine then first of all make sure they accept freelance submissions. If they don’t you’ll be wasting your time approaching them. Whether it’s fiction or features you want to write, ask for their contributor’s guidelines.
  2. Buy several copies of the magazine and look at house style. Is it chatty, or more serious and/or literary?
  3. Check the lengths of fiction/features they publish, 1000 words, 2000 words etc. (writing outside of these lengths will result in automatic rejection because they won’t have the slots to put your work.)
  4. Check the target reader they are aiming for, including age, sex, type of person. Adverts and letter pages are a good guide to this.
  5. Check their house style – do they prefer first person viewpoint or third, male or female etc.
  6. Make sure you are writing for their target reader.
  7. Make sure you send your submission to the right person and in the right format, e.g. via email or by snail mail.

If you are writing features you should send a query letter/email first. Head up your query with an eye catching title or question. I highly recommend Solange Hando’s book, Be a Travel Writer, Live your Dreams, Sell your Features: Travel Writing Step by Step. This is a book about selling travel features, but its excellent advice applies to selling all features.

Here’s an example of a query letter sent to a dog lovers magazine, which resulted in me being commissioned to write the feature.

Dear Debbie,

Feature query – Ten ways to help your local dog sanctuary

I was wondering if you’d be interested in a feature about the above. As you know, many sanctuaries, especially those that rescue dogs are in dire straits, thanks to the credit crunch. And the small ones tend to get hit the hardest.

Since June this year, myself and four friends have raised nearly £1000 for DAWG (Dorset Animal Workers Group).

The feature would cover various simple ways of raising money, i.e. what we did – and how we did it. Plus other things dog lovers can do to help their local rescue centre. I can provide illustrating pictures.

I’ll look forward to hearing what you think.

It is possible for a writer with no credits to be commissioned to write a feature. You just have to write what is wanted. Once you have been commissioned, make sure you supply the feature promptly. Be professional. You will usually have to try more than once. Perseverance in all types of writing for publication is the key.  I hope this helps. Good luck.

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Tips on writing emotion

Writers are in the business of selling emotion.  I don’t remember who said that, but it’s spot on. If a reader doesn’t emotionally connect with a character they won’t care about them and they won’t read on. So getting emotion – whether it is sadness, humour, or a feeling of poignancy or tension – into your writing, is critical.

The million dollar question is how do you do it?

In order to ascertain what constitutes emotion, myself and a group of students brought in a selection of prose & poetry extracts which we considered emotional and set about analysing them to see if there was any common ground. Here are our findings:

It’s easier to get emotion from very emotional events. It sounds obvious but it’s worth mentioning. If you pick a subject that we all understand and have experienced, you’ll have a head start. Here are some universal emotional subjects.

  • Love – especially unrequited.
  • Death.
  • Loneliness.
  • Old age.
  • Loss of a person, pet, job, home.
  • Illness.
  • Darkness.
  • Fear – especially of a universal threat – from earthquakes to terrorism, spiders to flying.
  • Humiliation – fear of looking a fool or being left out.
  • Not fitting in.

Sensory detail is key in every type of emotional writing. So have your character hearing, touching, tasting and smelling her surroundings. Don’t forget temperature.

Setting is very important too. Setting puts emotion in context. We need to know where your character is when they are experiencing emotional events.

Be very specific. Don’t say ‘it was a dark night’. Say, ‘It was a cold moonless night.’

Viewpoint is vital. We need to be inside the character’s head – not watching them from a distance. First person present tense works particularly well.

Pace is also very important. Particularly when setting up tension and when writing humour.

Interestingly if you are writing a very sad scene you can understate what you write. In fact you should understate to avoid mawkishness (imo). But if you’re writing humour you need to go OTT. Really milk the situation.  Don’t miss a single opportunity. Humour and pace are strongly linked – as every stand-up comic knows.

Finally – if you feel it when you write it – the reader will feel it when they read it. What comes from the heart goes to the heart. Be authentic. Don’t hold back. Make yourself cry, laugh or feel afraid and your audience will be right there with you.

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Ten Inspiring Quotes About Writing

writing Inspiration

1. Talent is not as important as authenticity.

2. Editing makes it perfect but raw is sometimes better. Don’t polish out the sparkle.

3. The best way to find your voice is to write more.

4. What comes from the heart goes to the heart. If the author feels it when she writes it – the reader will feel it when she reads it.

5. Write what you are passionate about, but don’t preach.

6. Never forget we are in the entertainment business.

7.  The question should be not, what can I sell to this market? but what can I give to this market?

8. Without character, plot is nothing.

9. Life is the stuff of which novels are made. You have to live it to write it.

10. Never give up. You may be only one rejection from that book deal.

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Finding Time To Write

As every writer knows, there are always a dozen more pressing things to do than actually write.  But if you really want to, then you will find the time.  Below are some suggestions which I have found helpful.

What time of day?

Everyone has a good and bad time to write.  Some writers prefer to get up half an hour early in the morning, others to burn the midnight oil. Decide which is best for you and aim to write then. It’s probably best not to aim for a certain number of words.  Instead, aim to write for a set period of time every day.

Write when you’re in a working frame of mind

Some writers find it easier to get going if they’re already in a working mood.  You might be able to stay on at work for an extra hour a day – or start earlier.

Utilise time that would otherwise be wasted

What do you normally do in your lunch hour?  If this is wasted time, then you could use it to write.  Take a notebook and pen outside, or, if there is nowhere quiet to concentrate at your workplace, try sitting in the car.

I know one very busy lady who always took two old ladies shopping on Thursdays.  While they were going round Sainsbury’s she sat in the car and wrote.  She called it her supermarket writing.  She wrote three novels like this!

Know what you’ll write about before you sit down 

This might sound obvious, but it’s a lot easier (and less time consuming) if you know what you’re actually going to write about before you begin.  If you know what the first line is and have a vague idea of the storyline, you can get straight into the writing.  Thinking time should not have to take place at the computer.  It can be done while you’re washing up, walking the dog, etc.

Some time is better than no time

We are often put off by not having a long stretch of time at our disposal.  The truth is you don’t need a lot of time.  Everyone writes at different speeds, but not many people finish a whole piece in one sitting.  You will have to come back to it again, but if you don’t start you’ll have nothing to edit.  Even if you only have twenty minutes – make a start.  You’ll be amazed how the time adds up.

Happy Writing.

 

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Short Story Writing Courses

Just a couple of forthcoming courses to tell you about today.

10th – 12th April 2015

‘Write a Short Story in a Weekend’ at the Royal Agricultural University – Cirencester (above)

A step by step guide to writing a short story in beautiful surroundings with expert tuition – well with me anyway! I’ve sold one or two short stories!

ÂŁ240 all inclusive fee

e-mail loisbm@outlook.com or me via this website for more details or check www.malagaworkshops.co.uk

6th June 2015 – 10 – 4.00

How to Write and Sell Short Stories (with me again) at Kinson Community Centre, Pelhams Park, Milhams Road, Kinson, Bournemouth.

This course will focus on what a short story is and how you can sell it.  We will look at existing short story markets (including magazines) and up to date information on what those markets require.  We will also be looking at other paying short story markets (including podcasts) and what they require. Advice will be given on house style and how to find ideas to suit your intended market. Courses are run on an informal lecture/discussion group basis. £45.00

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Submitting stories to magazines – should I send a cover letter?

Here is another question from my Dear Della page that I get asked regularly.

Q Whenever I submit a short story to a magazine, I give basic details and contact information on the cover sheet. Is it always necessary to include an introductory letter with brief synopsis as well? Apart from it being time consuming for a reader or editor, I worry more about the letter than the story!

A I’ve had several writers in touch about this dilemma and the short answer is no, it’s not always necessary to include an introductory letter. The cover sheet is enough for most fiction editors. It is not usually necessary to include a synopsis either and some magazines actually advise against doing this. However, do check the guidelines. If they ask you to submit a covering letter, then do so. It can be very simple. Here is one I have used.

Dear Fiction Editor (insert name – if you don’t know it, find out)

Please find enclosed my short story, THE RED SHOE (1000 words) that I hope might be suitable for publication in… (insert name of magazine).

I enclose a stamped addressed envelope for your reply, and look forward to hearing what you think.

Many thanks for your time.

Yours sincerely

Also please do make sure your SAE has sufficient postage to return the story to you. Or you will never know its fate.

***

I teach weekly writing classes at Kinson Community Centre, Pelhams Park, Kinson, Bournemouth. Thursday evenings, Friday mornings. Term dates in side panel to right of this page.

My next Saturday course on How to Write and Sell Short Stories is in Kinson on Saturday 25 April 2015.  £45.00 for the day. Please do check the course page of this website for further details and email me via website to book. I’m also doing a weekend course (Write a Short Story in a weekend) at the Royal Agricultural University, Cirencester) 10th to 12th April. ÂŁ240. I am also doing the Twist Ending at Woman’s Weekly on 13th April ÂŁ75.00. See side panel to the right for more details. The latter two courses must be booked via Relax and Write and Woman’s Weekly websites respectively.

Happy writing

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Posted in Dear Della, Questions from Dear Della, Short stories for magazines, Tips on writing, Writing | 6 Comments

Writing Courses, Plagiarism and Promotion Fairies

Here are another couple of questions from my Dear Della page in Writers’ Forum that I get asked quite frequently – and the answers.

Q I believe I have a good plot and idea for a short philosophical story. However, I am not sure how good or captivating my writing is. I don’t know how I can get in touch with anyone who can critique my writing and give me tips on how to improve. Also, I am worried about another issue. If I send part/all of my manuscript to someone so they can analyse it with me, what stops them from trying to publish it themselves? What legal protection do I have over my work?

A With regard to finding someone to critique your work, I would advise you to contact a good and reputable critique service. The Hilary Johnson Authors’ Advisory Service and Cornerstones both have good reputations.  No reputable critique service would copy your work or try to pass it off as their own. This would be both unprofessional and unethical.

However, it sounds to me as if you may not have a finished piece of work to critique currently. If this is the case and at the moment you just want to learn more about the craft of writing, why don’t you try an adult education class in creative writing, or a college or university run writing course? The best way to start is to find one of the above that is near you. Alternatively there are many on line creative writing courses. Look for long established ones, but I recommend your first port of call might be to join a writing group or class and get personal recommendations from their members.

***

Q I have read a lot about marketing for self publishers: Headlines such as Top Five Tactics for increasing sales/profile. There is so much one COULD do but it all takes time that could be better spent writing. Is there a promotion fairy you could just hand everything over to?

A Yes, there are promotion and PR services who work with authors with a view to increasing their profile and book sales. If you employ a good one it could be a very good investment. Some PR Services charge by the hour but it’s more usual for them to charge by the project, for example, if you’re launching a new book and you need someone to send out press releases, arrange reviews, maybe organize a guest blog tour or even your book launch. Some ‘promotion fairies’ also offer a social media package which might include things like setting up a Facebook and Twitter account and posting updates on your behalf.

I would recommend that first, you decide what you want a promotion fairy to do and then decide how much you can afford to pay them.  I know from my own experience that visibility is crucial for an author. If no one knows about your books they can’t buy them. So promotion is essential, whether you do it or whether you employ someone else.

It doesn’t have to be as time consuming as you think though. It’s regularity and frequency that counts. Just half an hour a day spent on social media, e.g. Twitter can be very effective.

If you are not ‘social media literate’ then maybe someone in your family is. I know one writer whose husband does all her social media and another whose teenage son does it. Thinking laterally may be the perfect solution.

Talking of courses – I’m teaching How To Write and Sell Short Stories on 14 March 2015 at Kinson Community Centre, Bournemouth.  Very small group, so lots of individual attention, ÂŁ45 for the day. Please email me or comment on this blog for further details 🙂

And as for self promotion – my top tip is to be creative. See picture, tee hee.

Everyone’s Trying To Get Their Paws on This Book!

Be Creative with your promotion 🙂

You can get your paws on The Morning After here.

 

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Wednesday Writing Spot – A Short Story Anthology – Guest Blog from Helen Yendall

Today, I am talking to the lovely Helen Yendall about her venture into self publishing an anthology called Paperchase. And it’s a subject close to my heart, short stories. Isn’t it a fabulous cover. So without further ado…

Q: Why did you decide to publish an e-book of short stories?

Well, it certainly wasn’t for fame and fortune! I’ve had some success with published articles, poetry and short stories but not had a book of any kind published. It’s almost unheard of for unknown writers to have collections of short stories published in the traditional way, so I thought I’d go down the self-publishing route. It was fun and very satisfying to see the end result. Although, I must admit, when I pressed ‘publish’, it was rather a nerve-wracking moment.

Q: Why Nerve-Wracking?

When you’re published by, say, a magazine, you’re very protected. All the necessary editing, checking, illustrations and marketing is done by someone else, so I suddenly felt very ‘exposed’. What if no-one bought or liked my book? What about typos, complaints or bad reviews? And – importantly – how was I going to promote it so that people would even know it existed?

Q: Do the stories in ‘Paperchase and other stories’ have a theme?

Yes. I don’t write many traditional boy-meets-girl romance stories, so although my theme is definitely ‘love’ it’s not simply that, rather it’s ‘finding love in unexpected places and in unexpected ways’.  At train stations, on a bus, in the middle of a field, through a knitting circle… my stories touch on love for our neighbours, children, parents, friends and grandchildren. I hope the stories are uplifting and life-affirming and that if you have a tear in your eye at the end of one or two, it’s because the story’s moved you, not because it’s upset you!

Q: Do you have a favourite story in the collection?

Ooh, that’s like asking a mother to choose her favourite child! But if I’m pushed, I have to say that ‘The Curse of The Sheep Baby’ is a particular favourite of mine. I wrote it several years ago, when I was doing a Creative Writing course at Birmingham University. We were put into groups of 7 and had to come up with a fitting theme and each write a story on that theme. We chose the 7 deadly sins and I was given ‘envy’.  The story I came up with was prompted by a newspaper article I’d just read about women in China who didn’t want to give birth in the year of the Sheep (which, incidentally, we are just about to enter again, when the new Chinese Year starts on February 19th). I liked the story but it spent many years being rejected by magazines and coming nowhere in competitions until, finally, it was placed in a competition in Writers Forum magazine and published, with a beautiful photograph of a Chinese baby. It’s nice to be able to get the story ‘out there’ again by including it in this collection.

Q: Your cover is very striking. What was the inspiration behind that?

Thank you. I wanted the book to have a snappy title and ‘Paperchase’ is the only story in the collection with a one-word title, so it seemed the obvious choice.  Then it was a case of working with the illustrator to create a design that not only reflected that story but some of the other stories too. On reflection, the cover is perhaps a little too dark and spooky (none of the stories are gothic in any way!) so perhaps I should have gone for some brighter colours but overall, I’m really pleased with the cover.

Thank you so much for inviting me to be a guest on your blog today, Della!

Paperchase and Other Stories is available here as an e-book, priced at ÂŁ1.99

It’s a pleasure to have you, Helen. I think the cover is fabulous. And I love your writing room. 

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The Morning After The Life Before

It’s publication day for me. The Morning After The Life Before is now out in the world. Oh gosh. I don’t think there is anything quite as scary.  I used to think that finishing the book was the end, but it isn’t, is it. It’s just the beginning and the really scary bit is waiting to hear what people actually think of it! And if anyone’s a fast reader that could be very soon. Gulp.

I am very proud of this one though. The Morning After The Life Before has a lot of me in it. As all of our stories do, don’t they. Not necessarily the bits you think though. A very dear friend of mine once told me I wrote in code. He meant that there were huge chunks of truth in my writing but they were mixed up with a lot of fiction. And so it is with this one.

I think I mentioned that I wasn’t a dominatrix, didn’t I! That’s the only clue you’re getting. There are some subjects in this novel I never thought I’d touch upon. That really is the last clue you’re getting.  I can tell you though that what I don’t know I research thoroughly and I think that the emotions of what I write about are authentic. I hope you’ll see that if you do decide to read it.

Here’s the first chapter for free.

Chapter One

SJ gave a very deep sigh and glanced once more at the phone. For the last two hours and twenty-two minutes, not that she was counting, the phone had become the focal point of her front room. No, not just her front room – her entire life.

The phone had sat in its cradle on the table by the television. She had sat on the sofa next to it, flicking surreptitious glances at it, while pretending to read Cosmopolitan and occasionally getting up to check that the display was still working in case there was a power cut.

“What if there is a power cut?” she’d said to Penny when they’d done the handover. “I have the plug-in kind of phone – it won’t work unless it has power.”

“I wouldn’t worry – they’ll phone back.”

“But what if they don’t? I thought you said it’s a matter of life and death. What if they’ve spent the last three weeks plucking up the courage to phone the helpline and this is their final desperate plea for help and then no one answers because there’s a power cut. What if they die?”

“They might die anyway,” Penny pointed out, with unnecessary sharpness, SJ thought, considering she was only trying to get things right. And considering that Penny had actually said – when she’d been trying to persuade SJ to sign up for phone service – that the helpline was a matter of life and death.

“We are the fifth emergency service,” she’d said, a mite pompously, SJ had thought. Especially as she hadn’t bothered to explain what she meant. Clearly, as everyone knew, police, ambulance and fire were the first three emergency services. But what was the fourth? And why weren’t they the fourth?

It was slightly crushing to realise that the Alcoholics Anonymous helpline couldn’t be all that important. Not if they were only the fifth.

“What if I miss the phone ringing because I’m out of the room – say I’m in the bathroom?” SJ had asked.

“I thought you said you had a carry-around phone.” There was a gleam of triumph in Penny’s voice.

“Yes I do, but if there was a power cut I’d be using my back up phone. My in-case-of-emergency, old fashioned, plug-straight-into-the-mains phone, wouldn’t I? So I won’t be able to carry that around, obviously.” SJ sighed patiently and resisted the urge to add, ‘so what have you got to say to that then, Miss Goody Two Shoes, know-it-all, pompous Penny?’ Which she would have done without hesitation once when someone like Penny wound her up.

But which she couldn’t do now because she was no longer that person any more. She was no longer judgmental and impatient and prickly – which she’d only ever been because she was lacking in self-esteem obviously. These days, she was serene and calm and peaceful. Serenity was her middle name. She’d considered, in fact, making Serenity her actual middle name by deed poll. Only there didn’t seem much point because no one ever asked you what your middle name was anyway. And deed polls were probably expensive.

“Someone might be trying to get through right now while we’re talking,” Penny said wearily.

“Right. I see. Yes, okay. Point taken.”

“Someone might be dying right now. So maybe if I could just put the phone down, SJ? Please – if you’re ready to take over. Are you?”

“Of course. Sorry. Um bye.”

“Goodbye, SJ.”

Penny disconnected. The phone rang almost immediately and SJ was so surprised she dropped the handset. Then when she reached to pick it up she knocked over her cup of calming peppermint tea which was on the glass-topped coffee table between her and the phone. Oh crap. The phone was still ringing. The tea pooled across the glass and began to drip down the wooden leg.

Double crap. What if there was some raging, desperate, suicidal alcoholic on the other end of the phone? What if they were pissed off because they hadn’t been able to get through? What if they shouted at her? What if they were an utter maniac? Don’t judge, SJ. Deep breaths, in, out, in, out, in, out. Try to stay calm. Serene and calm is where it’s at. If you feel serene your voice will be serene. Nothing to it. She punched the green button with a finger, intending to say, ‘Yep,’ in that ultra-cool voice that ultra-cool receptionists – usually the ones that worked in PR and marketing companies – were fond of using.

What actually came out of her mouth wasn’t yep. It was yip. She tried again. “Yip, yep, yip, yap.” Oh crap. Now she sounded like the next door neighbour’s Jack Russell terrier.

“SJ it’s me.” Penny’s voice held a note of incredulity. “I’m just – er checking that the phone line transferred okay. “Is – everything all right?”

“It’s fine. Absolutely fine. Couldn’t be better. Sorry, I was practising my – um – my dog whisperer voice. I’m doing evening classes.”

“You’re doing evening classes in dog whispering!”

“Yep. I mean yip. Yip yip, yap, yippety yip – ha ha! What do you think?”

“Very – er – authentic, but do you suppose you could do it when you’re not answering the helpline?”

“Of course. Sure. Sorry.”

SJ disconnected and put her head in her hands, before realising belatedly that her elbows were now in a pool of peppermint tea. Fantastic. Why had she ever thought she could do this? She must be mad. She shouldn’t have volunteered. She should have contented herself with making tea at meetings or acting as treasurer. Even she couldn’t make too much of a hash-up of that. What did she know about giving up drinking anyway? What was she going to say to someone if they did phone up the AA helpline? Oh it’s easy – you just swap your vodka for a mug of peppermint tea. Nothing to it. No one was going to believe that, were they? Everyone knew it wasn’t easy to give up. Not when you’d been drinking on a daily basis for months, or years, or possibly even decades.

She’d only managed to give up because she’d had an utterly brilliant counsellor who she’d gone to see, week after week after week. And let’s face it she probably wouldn’t have done that if he hadn’t also been utterly gorgeous and if she hadn’t also had the most humungous crush on him. Would she have given up drinking at all if she hadn’t fallen in love with her counsellor?

Ironically, it was the thought of the utterly gorgeous Kit that snapped her out of the beating herself up mood she’d fallen into. She cleared up the peppermint tea spillage – grabbed her iPad from the kitchen and found her latest To Do list. At the top of the page she wrote:

Things not to say when answering the AA helpline

1. Yip or yap, or yippety yip – or any possible derivative of the word yip.

2. Yep. (Mainly because it was very hard to inject a decent amount of empathy and sympathy and understanding into the word yep. Yes with a question mark would be better – or yeah if you stretched it out a bit or maybe even yo – that was a pretty cool word around youngsters, these days. Except that yo didn’t sound very sympathetic either. Yo dude – you gotta problem with your drinking? Hey that’s tough. And anyway she wasn’t exactly young. Forty-two might be the answer to life, the universe and everything – but as an age it was well over the hill. How on earth had she got to forty-two anyway?)

3. “Hello, this is the Alcoholics Anonymous helpline – how can I help?”

That would have made the most sense. But unfortunately she couldn’t say that in case it was her mother phoning, or her sister, Alison, or her best friend, Tanya. Not that her mother and her sister and Tanya didn’t know she was a recovering alcoholic. But there were people in her life, these days, who didn’t know. And it wasn’t the sort of thing she wanted to advertise when she answered her own phone. That was the trouble – she had no way of telling whether she was answering a call diverted from the helpline or whether it was someone who wanted to speak to her. It was a conundrum.

Although not that much of one because the phone hadn’t rung for – what – coming up for three hours now anyway. Soon her phone service shift would be over and she could go back to doing her housework or planning her Poetry and a Pint session. In fact, what the heck, why didn’t she do that now? What was she waiting for?

She had barely reached the door when the phone began to ring. SJ stared at it in surprise. She wasn’t imagining it, was she? It was ringing? She took a deep breath and strolled back into the room. This time she was going to get it right. She would be pleasant, polite, with a touch of concern. She would be relaxed, calm, the model helpline attendant. She felt her chest swell a little with pride at the thought. This was her chance to make a difference.

She picked up the phone. “Hello, can I help you?” Oh so simple – why hadn’t she thought of that before?

“Hello,” the girl’s voice was tearstained. “Is that the AA?”

“Yes it is.”

There was a small silence and SJ wondered if she’d sounded sympathetic enough. Maybe she’d been a bit matter of fact, or even abrupt. She sat back down on the sofa, pressing the phone close to her ear. “Are you okay?” she said softly.

“I don’t think I am,” said the girl and now she sounded so scared and so vulnerable that SJ forgot all about herself and how she was coming across and she just wanted to say something, anything that would help – even if it was only for a few moments, a few seconds.

“You’ve done the hardest part,” she said. “You’ve just phoned for help. You’ve made a phone call that could save your life. I know how hard it is to do that. I did it myself once.”

“Did you used to drink a lot then? I mean, really a lot. I don’t just mean wine. I mean, well, bottles and bottles of voddie?” The girl’s voice grew a little fainter and SJ realised she’d drawn away from the phone. She could hear sounds in the background, the clink of a bottle against a glass and the unmistakable glug of liquid.

“Are you drinking now?”

“No,” the girl said. There was a pause and SJ heard her swallowing and the slur in her voice when she spoke again. “No, I’m not drinking. I’m not phoning for myself. I’m phoning about a friend.”

“And is your friend able to come to the phone, honey?”

Another pause to swallow. “No – not really. She’s er… she’s asleep. Maybe when she wakes up.”

“Sure,” SJ said, knowing there was no friend. “So tell me about you. Are you okay?”

There was another long pause followed by a little beep and SJ realised as she held the phone away from her ear again that the display was blank – that the girl had hung up. She sat back on the sofa feeling terribly sad and also a little sick. So her very first call and she’d done nothing. Nothing at all. Somewhere out there was a very scared, very lonely, very drunk young girl and she – SJ – had been utterly powerless to help her.

***

And if you’d like to read on for a mere ÂŁ1.99 – less than the price of a glass of Chardonnay! Please click here.

Thank you 🙂

 

 

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Posted in first chapter, Ice and a Slice | 2 Comments

Happy Ever After – or is it? How do you get a good end?

For me, endings have always been the most difficult thing to get right.  But a bad ending can ruin an otherwise excellent story. There are all sorts of bad endings. You probably recognise most of these. They don’t really need explaining.

  • Is that it?
  • So what?
  • Where’s the rest?
  • I worked that out in Paragraph One.
  • Did I miss something?
  • What happened to Harry?
  • You’ve got to be joking!

So – how do you make sure your ending doesn’t fall into these categories?  Here’s a list of types of endings and tips that might help to make them work:

  1. Circular stories – link the beginning with the end, often by time or place, for example we end up when and where we began.
  2. Twist – as it sounds. Spring a surprise on the reader, but do give them the clues to work it out.
  3. Surprise – these are a little bit gentler than a twist. Usually a surprise means some piece of information is withheld from the reader. An agent I once had called it the after eight mint effect.
  4. Straight ending – these don’t contain twists or surprises but they often contain a universal truth. They are often poignant. Can also be amusing.
  5. Link the title with the end – these are often stories with a theme, for example, a story called Faith, turns out in the last paragraph to be about ‘faith’.
  6. Motifs – you might have  a running motif through the story, for example a recurring sentence, or a recurring phrase that ties up with the end.
  7. An off the page end. You finish with a pointer as to where the story/characters will go next. Things aren’t neatly tied up but there’s an indicator that the characters will be ok.

It’s worth remembering the following too:

An ending must resolve the problem you initially set up.

It must be relevant to the beginning.

If you’re stuck for an ending, look at what you’ve written so far.  The clues to the end will always be in what you’ve already written.

And while we’re on the subject of endings, did I mention the sequel to Ice and a Slice is out this week. Yay! The Morning After The Life Before is my latest novel and I’m very proud of it. SJ doesn’t quite get the Happy Ever After  she thought she was heading for! Nice matching cover for Ice and a Slice too – Can you spot the hidden message in these two covers?

The fabulous covers were designed for me by Peter Jones. Find out more about his book cover designing service here.

The Morning After The Life Before comes out on 5 February 2015 and is available for pre-order here.  Ice and a Slice with its funky new cover is available here. They are both £1.99, less than the price of a glass of Chardonnay!

 

 

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Posted in News, Questions from Dear Della, Tips on writing, Writing | Tagged , , , , , , , | 5 Comments