I think all writers have pieces that, for some reason, don’t have maximum impact or aren’t coming together in the way we want. In this entry, I have some suggestions for these pieces based on my own experience.
In 2013, I was given homework from a writing group to pen a story inspired by lines from a poem. As it wasn’t coming together, I spent the afternoon in the library writing until it made some sort of sense. I eventually created a flash fiction piece that became my first published story.
A couple of years later, I was working on a poem for performance at an upcoming gig. When it wouldn’t come out in a way I liked, I went for a walk in the cold. By the time I returned home, all the elements began to settle into a list poem. The finished product gained a positive reaction on its début, and has done on each reading since.
Broken mirror (Photo credit: Wikipedia)
Which brings me to my most recent difficulty. This was another list poem, in response to a friend’s work, that wouldn’t flow no matter the order in which the lines were arranged. I ended up writing each line on a separate slip of paper and drawing them out of a bag like raffle tickets. That method helped to identify which lines felt out of place and could be removed, then the remaining fragments naturally joined together.
The most recent poem hasn’t been heard by an audience yet, as I think it needs to be left aside for a while. I’ll revisit the piece in the future with fresh eyes and decide whether I still like it as it stands. And time is one of the best ways to fix non-urgent work.
In 2014, I came home from the aftorementioned writing group having been unable to think of a story from the prompts given. I was so annoyed with myself that I typed up my frustrations in short sentences with plenty of negative space between the paragraphs, then closed the document. Thinking it would be embarrassing, as it was never intended to be seen by others, I didn’t reopen the file until earlier this year.
I was jolly surprised to find that it might actually work as a poem, and I’m also more inclined to figuratively bleed onto the page than I was two years ago. So it might yet be seen before an audience.
As I’ve no urgent writing projects on the go right now, I’ve turned my attention back to submitting work to publishers. There are never any guarantees in publishing, but I have a few tips to help ensure the process is as painless as possible.
Keep a close eye on what you submit and when
I maintain a spreadsheet with the following columns: Publisher, Submission guidelines, Closes, Date entered, Decision notified, Title(s) entered, Entry method, Overall submission count (target 52 per year).
Most short story and poetry publishers insist that you don’t submit a given piece to any other place until they’ve accepted or rejected it. If a piece is rejected, I use the strikethrough font effect so I know it can be sent elsewhere; if accepted, it’s noted on a separate spreadsheet. Note that agents looking for novelists usually don’t mind if you send to several places at once.
Be early
Right now, we’re heading into the Christmas and New Year period. Publishing lead times can be so lengthy that it’s far too late to submit festive pieces, as editors will now be planning for Easter or even summer. Yet there’s also an opportunity here: if you’re inspired to write a piece this December, there’s plenty of time to refine it and submit it in summer next year for next December.
Unless instructed otherwise, use a standard manuscript format
On his website, writer William Shunn offers a range of templates that contain all the information publisher needs, such as your contact details and pen name. Occasionally, you might be asked to use a certain font or a different layout. In those instances, always read the instructions carefully and follow them precisely.
A printing press in Kabul, Afghanistan (Photo credit: Wikipedia)
Be selective about entering competitions
This is perhaps a contentious point, but it’s a purely personal point of view.
When you send work to a publisher, there is almost never a charge. For a competition, there’s almost always a fee, and it can be up to £5 or sometimes more. Assuming an average fee of £3, entering even one competition a week can cost more than £150 per year. Aside from the financial aspect, I’ve had experiences where competition rules have been badly phrased or even self-contradictory, leaving me unsure how to enter.
That said, there are a few competitions I make a point of entering because they’re so prestigious or because the potential payoff would be worth it, which brings me to my final point.
Look at the reward offered
It’s a fact of a writer’s life that some publishers want your work without payment or other reward, usually with the well-worn line that they can offer exposure. If you do simply wish to make your name known, then by all means enter your work, but be clear about this from the beginning. I generally take no payment only when it’s for someone I know personally, or if it’s for charity.
Otherwise, the least I’d expect is a contributor’s copy of the finished book and/or a cash fee, however nominal. It takes a lot of effort and a lot of time to create a publishable piece, so never be afraid to charge for your work.
For the last month, you might know I’ve been taking part in National Novel Writing Month as well as leading the group. I’m pleased to report I passed the 50,000-word target on 29 November.
Because the project took up so much of my time, it now feels like there’s something I should be doing, except that there isn’t. The manuscript is tucked away in a drawer, and its dawning on me that I’m free to pursue other projects. At the moment, there’s a non-urgent opinion piece I want to write, plus an idea for another novel tangentially related to the one in the drawer. That, and it’s fun to use the word tangentially.
When you’re writing to a deadline, or even if you’re not, it’s sometimes necessary to write wherever and whenever you can. I was tackling my novel at break times and lunchtimes, and sometimes in front of the TV at night. But how difficult is it to find your optimum writing spot?
Mist over Aberfeldy A band of mist along the Tay covers Aberfeldy at dusk. (Photo credit: Wikipedia)
I’ve heard about a number of authors who have cleaned out their spare room, installed a desk, ensured they have no distractions, yet went back to an old favourite spot because the created one simply wasn’t conducive to writing. I once experimented with sitting right behind the front door. There was plenty of light, the noise level wasn’t excessive, and I knew nobody was going to barge in, but something about that place made me feel uncomfortable.
These days, I do the majority of my typing while standing with my back to my bedroom window, and my laptop or Freewrite on the end of the bed. When writing by hand, I can do that in a café, on a train, or during a dull literary event trying to look like I’m avidly taking notes. I find it difficult to be in a silent place, because even the noise of the pencil or a page turning sounds like a terrible racket.
By far, though, my favourite writing place of recent times was in the town of Aberfeldy overlooking the mountains. The piece in question was my dissertation rather than fiction or poetry, but I would consider going back there if I had another big project to tackle.
National Novel Writing Month ends this week, thus potentially freeing me up to make longer blog entries.
However, I woke up to the news yesterday morning that our main meeting venue – a Wetherspoon’s pub – closed permanently on Saturday night. As such, we’ll need to find a new place; this is a problem I’ve encountered before, and I’m sure it’ll work out for the best.
For the moment, I’ll leave you with a poem I wrote on the day that Donald Trump was elected. It’s called Hell’s Marksmen.
Our satire
can fire
more shells
than Hell’s
marksmen.
And when
deployed
sweetly,
can vanquish
completely.
For those of you who haven’t read it elsewhere, I’m pleased to report that I’ve now graduated with an MLitt in Writing Practice and Study. I’ve become a jack of all words, and master of letters.
The logistics of the ceremony has left me behind with my other work, so I’m afraid it’ll be another short entry.
We’re now into the thick of National Novel Writing Month. The Dundee & Angus region alone collectively ended 11 November at well over half a million words, and the total is rising every day.
But other literary events are still happening. Tonight, I’m going to a Silent Reading Party, then a Spanish-themed poetry night. And on 25 November, I’ll be seeing the actor Alan Cumming in conversation with Muriel Gray about his latest book.
I would like to take this opportunity to plug a couple of events. You might be aware that my poem Crossing the Road has been included in the anthology Aiblins: New Scottish Political Poetry, which officially launched in Edinburgh last month. There is also to be a Glasgow launch tomorrow 15 November where I can’t be present, and an Aberdeen launch on 21 November where I’ll be performing.
For now, though, it’s back to NaNoWriMo. I didn’t know where I was going with this year’s story – in some respects, I still don’t – but I now have a character who loves to fill notebook pages with the same phrase, much like Jack Torrance in The Shining. Here’s what happened when she was turned down for an arts grant:
Every November, I take part in National Novel Writing Month – aka NaNoWriMo – which is a challenge to draft a 50,000-word novel in a month. Along with an assistant, I’m also a Municipal Liaison (ML) for the Dundee & Angus region in Scotland. We arrange regular meet-ups for members, encourage and support them, and persuade them to donate to the project.
As such, some of my other projects have to be scaled back or placed on hold. This includes submissions to publishers, reading books, and updating this blog. In fact, my current issue of Writing Magazine is still in the cellophane. However, I’m making good progress, having written more words than required every day so far; in fact, the whole region is doing a sterling job.
This weekend, I was at the launch of Aiblins: New Scottish Political Poetry, where I performed my piece Crossing the Road at the Out of the Blue Drill Hall in Edinburgh. Every reader did a fantastic job and nearly every seat was full.
As I was staying over the weekend, I decided to post a video of the poem performed in the city. That one poem turned into three, which turned into five.
It’s rare that I post work online, as most publishers won’t then accept it. But two of the poems are already available, and two are site-specific clerihews, so I’ve made an exception .
So in today’s entry, if you’ll excuse the high winds and tourists chatting, I’m presenting these five poems.
Fans of the BBC TV show The Apprentice will remember a candidate who styled himself as Stuart ‘The Brand’ Baggs. While his idea of branding was certainly misguided, it was nonetheless a memorable gimmick. As a writer, it is similarly important to consider how you’ll be perceived by your readers.
Next time you’re in a bookshop or a library, have a look at some of the book covers. You’ll often find that books by the same author share certain elements: perhaps the author’s name is written in a particular typeface, or perhaps a certain style of artwork is common between them. But branding goes so much deeper than a cover. It can include the personality or values that you want to convey to the reader.
Bronco branding in the Top End. (Photo credit: Wikipedia)
My own branding begins with my moniker: Gavin Cameron is actually my first and middle names. My real last name is Cruickshank, but I don’t use it because there are several possible variations in the spelling, and it serves as a small distinction between my real life and writing life. Not to mention that Crookshanks is Hermione Granger’s cat in the Harry Potter series.
There is a long literary tradition of pseudonyms, and this is catered for in the standard manuscript format. Your real name goes in the address at the top left-hand corner, while your pen name is included in the byline underneath the title. I also mention it in the body of the e-mail or on the cover sheet.
Even so, the issue does occasionally cause problems. A couple of times, show organisers have thought that Gavin Cameron and Gavin Cruickshank were two different people. One organiser recently made publicity material in the name of Cruickshank instead of Cameron, and it’s now being corrected.
In an attempt to stop this from happening again, I’ve now made it clear in my e-mail signature:
On the same subject, you might have noticed my Twitter name @LadyGavGav. Although I’ve never liked my first name being shortened to Gav, and still don’t, I felt I had to take that Twitter name as it was available and was an improvement over my previous handle @Knaw_Says.
I spoke a little about my upcoming gigs in the last entry. This week, I want to pass on some of the advice I’ve picked up in the years I’ve been performing.
A live performance is a great way to introduce yourself to a new audience, and to add extra enjoyment for your existing fans. So it’s crucial to make a solid effort. The advice below should be treated not as strictly unbreakable rules, but as guidelines to make your event flows as smoothly as possible. Some of the points were made in a 2015 entry, but have been updated as I’ve gained more experience.
Think about your introduction.
Check with the organisers what content you need. Sometimes you need to give an introduction; other times, you’ll be asked only to read the piece. If you do need to introduce your work, it’s worth making brief notes, such as:
Give your name
Thank Tracey Jones for organising
Story is called On the River Tay
Taken from collection The Pie Seller
Published by Law Hill Books
Brought copies, happy to sign
Then on the night, you might say, “Good evening, my name’s Mary Walker. I’d like to thank Tracey Jones for inviting me to read tonight, and the piece I’ve chosen is called On the River Tay. It’s taken from my collection The PieSeller, and that’s published by Law Hill Books. I’ve brought some copies and I’ll be happy to sign them afterwards.”
Explain if you need to, but don’t apologise.
Some pieces do require an explanation. Perhaps the work is unfinished; perhaps it’s an extract from a longer work and needs context. But whatever you have to explain, keep it as brief as you can and certainly don’t apologise. If you feel an apology is necessary, ask yourself whether the piece is ready to be heard in public.
Before reading to someone, read to no-one.
The best way to identify any weak parts in a piece is to read it aloud – and that’s the last thing you want to happen in public. So find a space on your own and read it out when nobody can hear you. Are there any long sentences that need to be broken up? Are there words that are difficult to say clearly when grouped together? Can you add or take away any alliteration or rhyme?
If you don’t have the luxury of solitude, the next best method is to use text-to-speech software and listen to your words through headphones. There is plenty of suitable software available online, and some programs allow you to adjust the speed and the type of voice.
Make sure you also time yourself and keep it within the constraints laid down by the organiser. This might mean writing a longer introduction to expand a short piece, or reading out only a section to reduce it.
Practice your page turns.
Unlike a rock star, the great thing about being a writer is that you’re often allowed to take your notes on stage. When reading from a book or from sheets of paper, it’s a good idea to turn up the corner slightly or stick a post-it note to the back to help turn it more easily. When using an e-reader or tablet computer, practice tapping the correct area of the screen to turn the page. Make sure to account for any delay, as not all devices instantly show the next page.
To use my microphone, you have to speak into the side. It connects to a PC with a USB cable, and works with no additional software.
Make sure everyone can hear you.
In my experience, smaller readings tend not to use a microphone, so you need to project. Avoid tilting your head down to read the piece; instead, hold your manuscript higher and off to one side so it doesn’t muffle your words, or look down only with your eyes. Always speak slowly than you would in normal conversation.
If you do have a microphone, ask the sound engineer if you can test it out beforehand, especially if you’re unfamiliar with using one.
Most microphones collect sound from the top, but some designs mean you need to speak into the side, like mine (pictured). Either way, make sure you know which one has been given to you. One of the biggest distractions for an audience is a sound level that vastly increases and decreases, especially at random. Whether the microphone is handheld or on a stand, keep it at the same distance from your mouth.
Avoid too much alcohol or a heavy meal before the gig.
I fully understand why many people need Dutch courage before going on stage. But a drunk speaker rarely makes a good impression, especially during a paid gig, so strictly control your alcohol intake. It takes some concentration to perform, and too much booze impairs that concentration.
My rule is not to take alcohol before speaking, only coffee. Afterwards, however, I sometimes enjoy a red wine. It’s also a good idea not to eat too much in the hours before the performance, as a heavy meal can also slow down your thought process.
Decide where in the room to look.
I know one poet who deliberately looks at individual audience members and delivers a few lines before moving on to the next person. However, this is not what most people do because it can be unnerving to make eye contact. Fortunately, there are some techniques to make this easier. One of my favourite methods is look between two people, so the person on the right assumes I’m looking at the one on the left, and vice versa. Another way, which is particularly good for a theatre setting, is to look beyond the back row. This has the advantage of keeping your posture correct.
Sometimesthe audience reacts wrongly.
I’ve had experiences where an audience didn’t laugh when I’d expected, or chuckled at a serious point. You have no control over this. Should it happen to you, don’t point out the anomaly or repeat it. Wait for the laughter to die down if there is any, then move on without comment. But if you find different audiences keep reacting in the wrong way to the same part, you might consider revising it or editing it out in future performances.
If there’s a cock-up, keep going.
In a live event, something is likely to go wrong. Perhaps the microphone fails, perhaps you forget the words, perhaps somebody walks out. The best course of action is to keep going. The audience will easily forget a slipup if they’re engaged with your narrative. Conversely, they’ll remember the person who stopped the show early, and they’ll remember for the wrong reasons. It’s true that there is no easy way to recover from forgetting your words, other than picking up from the last section you remember, but keep saying something.
Two years ago, I was invited to read at Dundee University Students Association. I was debuting a poem called Housekeeping. I now know this piece back to front, but if you’ll excuse the terrible picture quality, here was my first attempt at memorising the words:
Signalthat you’ve finished.
At the end of a piece, the audience doesn’t necessarily know whether you’re finished or simply pausing for dramatic effect. But an audience can pick up on your gestures. You can lower your manuscript, step backwards slightly, or say, “Thank you,” whereupon they’ll take the hint and applaud.
Do it again.
It’s an eye-rolling cliche, but the more you stand up and speak in public, the easier it becomes. Over time, you’ll learn little nuggets like which techniques work or don’t work for you, which pieces always or never provoke a reaction, &c. Ultimately, a good performance can sell more books.
Gavin Cameron 