Tag: fiction

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Submitting to Publishers Again

About a month ago, Speculative Books told me they would be publishing one of my poems in September, and I look forward to attending the launch. On the other hand, I subscribe to Writing Magazine, but there are a pile of unopened copies in my bedroom.

A couple of days ago, on a whim, I decided to open the latest one. I used to read the articles, but now I flip straight to the publishing opportunities, considering each one on its merits.

For starters, I discount any competitions or pay-to-publish schemes. This extends to those publishers that offer no payment nor even a copy of the book. Sometimes an opportunity seems legit on the surface, but the description on the website is unclear, self-contradictory or occasionally unhinged. One site was even blocked by my VPN as a threat, so that was soon dismissed.

From that magazine, I found a handful of possible publishers. In one case, I even had a story ready to go. In another case, I need to wait until the next submission window opens, but that’s clearly marked in my diary.

Now I need to find the time to go through the rest of the magazines and see who’s still accepting pieces after all these months.

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What You Can Do in Five Minutes

A few months ago, my co-host and I reluctantly reduced the length of slots at our Hotchpotch open-mic event to five minutes. This was a combination of the sheer popularity of the night and because we now need to finish our events by 9pm. We previously had seven-minute slots, which were themselves introduced after ten-minute slots became too long.

After a three-month trial, we’ve decided to keep the five-minute slots. However, if we can find a way to restore more time in the future, we’ll do it.

During those three months, and entirely by coincidence, a writer posted a message in a discussion group asking where fellow prose writers could be found. The previous evening, she’d been to another open-mic where every other participant had read out poetry.

Thinking back on Hotchpotch, we did once have more short story writers than poets. I can see a strong correlation between the time available and the type of work being heard at these events. Ten minutes is long enough to read 1,000 to 1,500 words, which is the typical lower bound of a commercial short story.

Shorter prose does exist – it’s called flash fiction – but that tends to be less commercial because there isn’t much space to develop a plot. By contrast, poetry tends to be concise by its nature and doesn’t necessarily need a plot.

I included the above points in my reply to this writer, and then I considered there might be a ‘market’ for prose-based events. Perhaps each reader could be given up to 15 minutes each or enough time for one story, whichever limit is reached first. The trade-off is that fewer readers could potentially appear.

I probably won’t be the one to run said event any time soon, but I’ll tuck away that idea for the future.

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Writing a Character Backstory, But Enjoying It This Time

This entry is a spiritual sequel to a post from two years ago about a character from a game of Dungeons & Dragons (D&D).

When I mention D&D, there will likely be some readers who immediately switch off mentally. However, I promise this entry will not go too deeply into the game mechanics, and will instead focus on characters and storylines, so I invite you to stick with me.

I’ve been playing for the last few years in different groups. The most recent game has also been my longest, with sessions roughly every fortnight over the previous 18 months or so.

Every D&D game has a Dungeon Master (DM) who controls the general setting and what happens there, as well as acting as the voice of any secondary characters encountered.

When I began that game, I let the DM choose the attributes of my character. Many players consider this the most enjoyable part, but in my other games, I’d always found it a chore. My input was limited to giving my character a name – Max Wellhouse – and writing a placeholder backstory, with a view to expanding it in the future. D&D characters always work as a team, so the backstory typically explains how each character met the others.

Then I happened to watch this video from professional player Ginny Di, titled 5 backstory bad habits that drive your DM nuts. During the first section – Not having a catalyst – I began thinking about the placeholder backstory from months previously, and the pieces began to fall into place one by one. I’d written a background for Max Wellhouse, but not a backstory. It lacked a clear motivation for him to join the other characters.

You know how I said earlier that I’d found character creation a chore? Within two days of Ginny posting that video, I’d written paragraphs of backstory and motivation, comprising one main thread and two minor arcs, and what’s more, I enjoyed the process. I won’t reveal the content here, since it hasn’t yet been revealed to the other players.

Separately from this, I met up last weekend with one of my past D&D groups. The game halted a few months ago after we lost our former DM, and we’ve now decided to reform with an amended line-up. I was granted permission from the new DM to transplant my previous Captain Coconuts – from two previous games and rewrite his backstory from scratch. Again, I was inspired enough to write that up within 24 hours.

In the new backstory, Coconuts owned a ship and would seek out sea-based jobs and opportunities. On one job, he was accused of selling substandard copper to a powerful merchant. He sailed away as fast as he could with the merchant chasing him. Although Coconuts made his escape, it was at the cost of his ship smashing into rocks and sinking, leaving him on dry land with the few clothes and items he could salvage. Bonus points if you spotted the veiled reference to Ea-nāṣir in there.

Once again, I really enjoyed writing that, even if the character was pre-made with the assistance of the previous DM. I think that’s because I was doing it in the wrong direction.

Before this, I’d always tried to create a character, and then formed a backstory that would fit into the world. I think a better approach is to establish the world first of all, then have everything follow from there.

At the weekend, for example, the DM told me the world would be dark and serious. If I didn’t have Coconuts already made, I could then work on a backstory that might suit such a setting, then figure out what type of character might end up in that situation.

Unless something goes horribly wrong in either game, I expect it’ll be a while before I need to create another character, but I will make an effort to enjoy the process this time.

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Lost and Perhaps Found

When I started writing around 2010, I made a point of keeping an archive of my work.

Every story and poem has its own directory, and dated revisions are kept within each one. Plain text doesn’t take up much storage space, so there’s plenty of scope to keep doing this into the future.

About two or three years ago, I was looking for a particular poem I’d written; I knew its title, many of the words, and roughly when it was written. So when the archive showed no results after several attempts, I realised my system had broken down somewhere and wrote it off as a loss. I could have reconstructed it with a little effort, but I never did.

There’s a common misconception about Snapchat that it deletes every picture you send. In fact, you can set it to keep a copy of every picture you add to the My Story feature.

Fortunately, I’d not only set this up, but I’d taken a clear picture of the original handwritten verse four years earlier – and I’m not in the habit of doing that. In February 2022, while looking for something else, I found that picture. The original verse had almost certainly been shredded along with other papers. I swiftly copied the words into a Word document and placed it in the archive.

Luckily this was only a 16-line poem. Other writers have suffered far greater losses. Jilly Cooper, for instance, lost the original manuscript of Riders on a London bus and it took her years to rewrite.

Not all losses are accidental. A significant quantity of drama has been wiped from BBC and ITV archives, including episodes of popular shows like Doctor Who and Dad’s Army. Before the advent of home video, there was little incentive to keep old programmes except to resell them overseas.

In some cases, collectors and members of the public have discovered recordings; some in great condition, others needing significant restoration. The BFI used to hold an annual screening called Missing Believed Wiped, featuring a selection of recovered footage, but I’m unable to find any recent events.

It remains a mystery whether I typed out the poem in 2018 then lost it, or whether it was never typed up in the first place. I’ve nonetheless started backing up my archive locally and online so no further mishaps should happen.

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Eight Weeks of Writing Group Independence

Every Tuesday, I run a writing group with a pal. Until eight weeks ago, the group was affiliated with National Novel Writing Month (or NaNoWriMo).

We broke away to form an independent group after we felt the organisation was not working in the best interests of its members. You can read a previous entry exploring the reasons for this.

In the weeks following the announcement, we fielded a few questions from members, largely to reinforce that the new group would feel as familiar as we could make it. Only a couple of people have left, but no more than would have happened anyway.

In short, it’s been something of a velvet divorce.

I’d been running the group for about nine years, while my pal came on board about two years ago. We feel we know what works with our members and what doesn’t, and this secession allows us to take our own actions without needing to toe the line of an umbrella organisation with their own differing priorities.

There are still aspects we need to work out. For instance, we have an outstanding question of how to attract new members without being overwhelmed by new recruits. This, however, is not an urgent problem and we’ll work it out in due course.

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Discussion Questions About Discussion Questions

On Sunday evening, I reached the end of the Richard Osman novel The Man Who Died Twice. I always like to read over the acknowledgements, and then I turned the page to find a section titled ‘Discussion Questions for Readers’.

Most of the questions give away plot points, so I won’t repeat those here, but there are a few only tangentially related to the story, such as ‘Have you ever been lonely in a new town?’ and ‘What is an acceptable name for a pet, and what is unacceptable?’

I’d never before seen this feature in a novel, so I asked around to see whether others had. While some pals were – like me – surprised to see this outside of an educational setting, others reported discussion questions appearing in other books, such as:

  • A Man Called Ove by Fredrik Backman
  • The Seven Husbands of Evelyn Hugo and Daisy Jones and the Six, both by Taylor Jenkins Reid

These titles were all published in or after 2012, and I’d be interested to find out whether any older novels also have this feature.

One respondent reported debating with herself whether such questions encourage critical thinking or are merely there to spoon-feed reading groups. I’ve considered this question myself, but I have no conclusions so far.

It’s not clear whether the discussion section was the initiative of the author or the publisher, but I expect you’d want to test the waters first. My edition boasts ‘The multi-million-copy bestseller’ on the cover, so I expect Penguin Random House knew by this point that its readers would want to discuss the title.

Although I really enjoyed The Man Who Died Twice, perhaps I haven’t seen a discussion section before because I simply don’t normally lean towards crime fiction, cosy or otherwise. However, I will keep an eye out for this in the future.

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Sky Writing and Railway Reading

Yesterweek, I talked about going to Dublin for a few days and what I would bring to read and write on the three-day trip.

The flight there takes about an hour and five minutes from Edinburgh. I used the journey there to write six postcards, which I would then post on arrival, and tackled some other writing on my return. As predicted in that last entry, the cashier was indeed rather bemused as she handed over my stamps.

On the second day, my pal and I took a train to Belfast and back, taking around two hours each way, I split my time between writing in my notebook and reading my magazine.

It was helpful to have this time, but it would be more helpful if I were able to recreate this experience at home without the expense of travel. I’ve heard the suggestion of listening to ambient train noises as I write, but I also rationally know I can step outside my door at any time; not something you can do on a mainline railway.

If you’ve any suggestions on that front, I’m all ears.

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Nice NaNo-ing You

Long-time readers of this blog will know I’ve been involved with National Novel Writing Month (NaNoWriMo) since 2010. This is a not-for-profit initiative that encourages members to draft a 50,000-word novel every November.

In 2015, I began to organise our local Dundee & Angus region. A local leader is known as a Municipal Liasion (ML). Each ML needs to sign an agreement every year promising to enforce the code of conduct, hold regular meetings, and so forth. In fact, we already go over and above the agreement by holding meetings every week, not just during November.

I always like having a second ML in charge to help me make difficult decisions. This turns out to have been a prudent move.

Late last year, a member of NaNoWriMo staff in California stood down after making a racist comment about a colleague. Separately, the organisation was slow to remove a forum moderator who was sending inappropriate material to minors.

As a reaction to this, a new Interim Executive Director was appointed without warning, who then released a draft ML agreement with several adverse clauses. These included requiring us to verify our identity with a US company that doesn’t comply with GDPR and preventing us from speaking to MLs in other regions. There has also been a general air of disrespect in replies from this Director, which I haven’t experienced in a decade and a half of involvement.

There are a lot of aspects to this story, but that’s a summary of the main points.

As the situation with NaNoWriMo worsened, the other ML and I started serious discussions about withdrawing our affiliation and becoming an independent group. Our format had slowly evolved over the years, adapting to what members wanted, and we felt we could retain this aspect without external oversight.

Around this time last week, we sent a long bulletin announcing our independence and offered the opportunity for members to ask questions.

The news seemed to go down well. By this time, the MLs from most of the other regions in Scotland had also decided to step down. If anything, the decimation of NaNoWriMo has brought us closer together.

The next discussions in our local area will be about what to do with this newfound freedom. We’ve already amended our terminology to distinguish ourselves from our former identity, registered a URL for future use and discussed holding a summer writing event instead of a November one.

Whatever happens, we remain convinced that withdrawing our NaNoWriMo affiliation is the right action to take and we look forward to the year ahead.

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A Time for Writing

When I started this blog over a decade ago, the first dozen entries or so were posted at seemingly arbitrary intervals. It was an experimental venture that took a few months to settle into a regular cycle, initially every Monday at 5pm.

It made sense, considering my schedule at the time. I could write the blog over the weekend and then make any tweaks during the day on Monday. These are now posted around 8pm every Tuesday, which coincides with the end of my writing group, so I can use that time to make amendments.

The purpose of this schedule is to keep me producing at least one piece of prose per week. I don’t always manage a full entry, but I always post some text, even if it’s to explain I haven’t managed to write that full entry. Additionally, my Wyverns group membership encourages me to produce at least one piece of poetry every month.

I hear about too many writers – especially beginners – who feel they aren’t real writers unless they set aside a certain length of time every day. Of those, there is a sizeable subset who feel the well-known writing routine of Steven King is the One and Only True Way.

I find this frustrating to hear. One man’s method is not everyone’s method, and it shouldn’t be treated as such.

Some authors swear by keeping a notepad and pen by the bed, or writing in the morning, whereas neither of these work for me. There are a few who consider the activity seasonal, doing the bulk of their work in the summer or winter months.

There are also environmental factors. Bizarrely, one of my favourite places to write used to be in a certain branch of McDonald’s, and I can’t explain why. Maybe I should go back there and see whether it still works.

Once you experiment with your times and figure out what schedule works for you personally, the process will probably become easier.

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Taking The Michael

This entry builds upon what was said in the last entry about the Michael Palin TV series Around the World in 80 Days. If you don’t want to know the major plot points, skip this one.

I’d previously managed around half an hour of the first episode before describing it as a posh boys’ club and switching it off. I’m pleased to be proved wrong – albeit only partially.

The third episode is devoted to a seven-day trip on a small boat from Dubai to Mumbai. Everyone on board is expected to muck in with the rigorous daily routines and Palin shows himself to be remarkably adaptable.

But two episodes later, after reaching Hong Kong, a chauffeur is waiting for him with a bottle of champagne. He’s then taken to luxury accommodation and meets several entrepreneurs. It’s clear this is where he feels most at home.

There are also occasions where he would be wise to keep his mouth shut. I found he often felt a need to provide a commentary on what was happening rather than being silently present in the moment. He also asks some questions to female train passengers that seem inappropriate to modern ears.

I’m willing to cut a little slack on that front. The series is around 35 years old now, when Mumbai was still Bombay, plus Hong Kong was yet to be handed back to the Chinese.

On balance, I’m glad I revisited this. By his later series Pole to Pole, he has become better at presenting the places rather than himself, and at handling unexpected situations.

But we can’t talk about Palin’s very real journey without referencing the fictional journey of Phileas Fogg from the source novel Around the World in Eighty Days by Jules Verne.

I’m very much of a mind to read this sooner rather than later, especially as it’s in the public domain and widely available. In fact, Project Gutenberg has an audio version available free of charge, just like its text-based content.