Tag Archives: Writers & Artists

How to Get Published

Such a seductive title that, how to get published. It was the catchy headline for a conference organised by Writers & Artists in Plymouth in December 2017. Was it possible that the answer, the key, the secret to getting published was on my doorstep? Always positive, always hopeful, I paid my money and I travelled to Plymouth University.

My main purpose was to find something helpful so I can make a decision about publishing my novel. Yes that novel, the one that has been going in and out of drawers for several years, and which I am currently engaged in moving from a first draft into a much improved second draft. All that editing is very absorbing, and I have hardly looked up to consider what will happen after this stage. Should I publish or not? I found an answer – see below.

How to Get Published Conference

The day was largely a series of talking heads, people who knew about the business of getting published. We heard about editing and plotting from two novelists (Wyl Menmuir and CL Taylor). We were given guidance on openings from another prolific writer (Joanna Nadin). Two literary agents helped us think about submitting our work to an agent (Kate Johnson and Juliet Pickering). Alysoun Owen, editor of Writers’ & Artists’ Yearbook, provided information about the current state of publishing and real books. And the CEO of Literature Works, Helen Chaloner, brought us up to date about bookish activities in the South West.

It’s hard listening to seven different speakers, not a great model for learning. The best sessions were those which included activities, the ones in which we worked on opening sentences, writing elevator pitches, evaluating successful and unsuccessful pitches. There were plenty of helpful hints and tips and Q&A opportunities.

Some guidance was not quite so helpful. ‘Always finish everything you start,’ Wyl Menmuir quoted Neil Gaiman. People nod as if the advice is obvious, like proofreading your pitches. It seems crazy advice to me: if I followed this guidance I would still be working on all those teenage novels, formless, angsty, the tone breathless, and still trying to get them into shape. It seems to me that knowing when to leave some writing behind is a skill worth cultivating.

A conference is also about meeting other people, and it is always enjoyable to hear about their projects. Some of the elevator pitches were most impressive, and intriguing, as they should be.

Where next?

Over the years I have come to see that writers need to pay attention to guidance from the professionals to get published. It’s all about the book, we were told more than once. And we saw how despite the solitary nature of most writing, the publication of a book is about the cooperation and complementary work of many different people. The word trust, especially in relation to the agent-author relationship, was frequently emphasised.

Impostor Syndrome

Confronted by those successful writers and agents, and sitting among ambitious writers displaying loads of confidence, it’s hard not to feel that it all applies to everyone else. My work doesn’t follow the three act structure, the MC doesn’t have a clear and thwarted want. My pitch is currently rather tame. In short, impostor syndrome is alive and well even if my inner critic is uncharacteristically quiet. [IC: I don’t need to say anything – IS is doing it all for me.]

TLC have recently been circulating the following rejection letter,

10/4/28

Mr F. C. Meyer,
Wells Street,
KATOOMBA.

Dear Sir,

No, you may not send us your verses, and we will not give you the name of another publisher. We hate no rival publisher sufficiently to ask you to inflict them on him. The specimen poem is simply awful. In fact, we have never seen worse.

Yours faithfully,

ANGUS & ROBERTSON LTD.

TLC is suggesting that such brutal honesty should be accompanied by helpful advice. There now exist many helpful strategies for writers to seek out, including mentoring (see TLC, W&A, Gold Dust and many more).

And if you took a sharp breath on behalf of Mr Meyer, let me remind you (and me) that it is all about the book. The best antidote to impostor syndrome is to repeat: the book is not me, the book is not me.

For my own part, it was a coffee-time conversation that led me to move my decision forward. I shall take the next steps, finish this edit and seek further professional guidance about my novel. I have nothing to lose, and lots to learn.

Go to Artists & Writers website for details of more dates for similar events, mentoring services and so on.

photo credits  Writing by Caitlinator on Visualhunt / CC BY

Pencils Photo by smoorenburg on Visual Hunt / CC BY

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4 Reasons to Enter Writing Competitions

Why oh why do I do it? It happens over and over again. I notice a short story competition in a writing magazine or through Twitter. It has a desirable prize: money or publication or prestige or, best of all, all three. I check the rules, polish the story, pay the entry fee and upload the file.

Rosette from Cornwall Agricultural show by Matnkat, via WikiCommons

Rosette from Cornwall Agricultural show by Matnkat, via WikiCommons

Polishing the story can take some time. It might require checking former prize winners’ stories, revision to meet the word total, or complete revision because the story has been resting. It always requires a day or two of polishing

I press SEND adding an extra-virtual blessing. I have hope. This may be the one. I have high hopes for a couple of days, and then they descend gradually, and I forget about hoping until I realise that the day of judgement has long passed and I have heard nothing. Yet again I have not won a writing competition. I am very good at not winning short story competitions.

So why do I do it?

Four reasons to enter

  1. The deadline provides some external but strong discipline. The limits provided by the terms of entry are also a useful tool: to keep to 2000 words, and to ensure you have the right font, line spacing, and no mention of your name on the document. As writers of short fiction and flash fiction know, the limits of the form distil the choice of words. Every word must do its work to justify its place in the story.
  2. If I can do all that well enough, follow the rules and pay the entry fee I feel I’ve achieved something.
  3. Recently I entered an international short story competition, and was offered a critique of my piece for a few £££s more. I was feeling flush and agreed. As a result of the feedback received I already know the story wont win the competition. But the critique was excellent and showed me where I needed to do some work to improve it.
  4. I might win. There is a story about the lottery. A scrooge-like Mr Suggs was pestering God to let him win the lottery. Day after day he prayed to God to win the jackpot. Eventually God was exasperated. ‘You want to win the jackpot, Mr Suggs?’ he bellowed. ‘Do me a favour and meet me half way: buy a lottery ticket.’ So if I want to win a writing competition I do have to enter.

What other writers say

In her blog Top of the Tent Safia Moore lists four international competitions for short story writers with prize money. She suggests them for writers who have included competition entry in their new year’s resolutions. Motivation, she suggests, is a key feature of such entries, but the competition can be tough.

Writing in a recent edition of Mslexia Mahsuda Snaith revealed that she had entered about 300 competitions. Like me, she counts submitting among her achievements when she isn’t winning. Unlike me, she has had success, not least as a finalist in the Mslexia Novel Competition in 2013. And that success got her signed up with an agent. Mslexia has a short story competition with a deadline in March 2015.

147 A&WYBClaudia Cruttwell shared her experience of entering competitions for novels on the Writer&Artists website. The value she reports is in taking a fresh look at her MS and seeing it from the perspective of a judge. The requirement for a synopsis also focuses her mind. She hopes to attract an agent. And while she likes feeling pro-active as she enters she warns against the seductiveness of the volume of competitions. Note to self: this is a useful warning.

She’s right. There are so many. There is a long list of competition awards and prizes in the Writers’ and Artists’ Yearbook with its own index. I have the supplement of a writing journal on my desk. ‘Plan your writing year,’ it prompts. 13 pages of competitions are listed and there are also ads for many of them. The editor suggests that competitions are motivational, ‘a great way to keep your writing mind sharp’ and to bring you to the attention of agents and publishers.

Lynsey May suggests discrimination in selecting a competition and some research into what you might get out of it in her post Always read the fine print. She relates a sad experience to support this advice.

Copa El Pais – Paraguay, by Flahm, via WikiCommons

Copa El Pais – Paraguay, by Flahm, via WikiCommons

I’m pausing for a time as far as competitions go, while I do my writing course. In addition I have a non-fiction work in progress with two colleagues, as well as other things to do – suc as reading and writing posts for the blog. So I wont enter any competitions for a couple of months. But I will tell you if I win.

 

Have you got any good experiences of entering a writing competition? What’s your secret? What’s your motivation?

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