Nicola Cornick, chair of The Romantic Novelists’ Association (RNA), an historian and award winning novelist, explains what the organisation offers both published and unpublished writers of romance.

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I am delighted to welcome back Nicola as chair of the RNA.

What can the organisation offer romance writers in 2018?

‘The RNA is the professional organisation that supports and promotes romantic fiction in the UK. Membership of the RNA offers authors the chance to strengthen their career through developing their craft at our workshops and conferences and to build a network with other authors who understand the challenges we face and can offer advice and support. We are also building strong links with the industry and our events give authors the chance to meet a wide range of agents, publishers, booksellers, librarians and other professionals.’

That seems to present a broad spectrum of activities and opportunities to support your members.

‘In addition, members receive Romance Matters, our quarterly journal covering all aspects of writing romantic fiction from the craft to industry issues, discounted tickets to all our events and the opportunity to join regional groups. So the benefits are both professional and social.’

Nicola stresses that although the emphasis is on the professional advice, events and networking a friendly and welcoming atmosphere is nurtured. So how does a writer become a member?

‘The RNA welcomes traditionally and independently published authors. Membership is in different bands: A full or independent Author Member is currently £50 (£57 for non EU based) and £60 for Associate Members (£67 for non EU based). All the details can be found online at or by contacting the membership secretary, Gill Stewart, on info@romanticnovelistsassociation.org.

The organisation also welcomes and encourages as yet unpublished writers into its ranks. The New Writers’ Scheme is unique as Nicola explains.

‘We’re very proud of the New Writers’ Scheme (NWS), which provides the opportunity for aspiring authors to submit a manuscript for critique by an experienced writer in the genre. Not only is it a great way for new writers to improve their craft, it also gives encouragement and support. As the RNA has close links with publishers and agents the NWS can provide a route for them to make those connections. Unsurprisingly it is hugely popular and each year a number of NWS members go on to achieve publishing contracts.’

The scheme is open to writers interested in submitting an unpublished romantic novel (or partial) and this year the membership fee cost was £135 (£145 for members outside the EU). This also allows unpublished authors to take part in all RNA activities as well as submitting a manuscript of a full-length novel for appraisal. More details are available by email to: NWS@romanticnovelistsassociation.org There is a cap on the number of submissions that can be accepted each year and acceptance into the scheme is therefore on a ‘first come first served’ basis. The entry slot for submissions closes at the end of August each year.

Today’s publishing environment seems to be becoming more challenging, but Nicola is very optimistic about the present market for the romance genre.

‘I think the romantic fiction genre is changing all the time to reflect both modern life and the changing publishing world. The genre is a broad one. You can find strong romantic elements in many different sorts of novels where people are writing about relationships, whether this is contemporary fiction or epic historicals or books for young adults. Our membership reflects all of these different threads. We also see the books reflecting the concerns of contemporary society, whether it is issues such as work life balance, infidelity or health. The recent return to popularity of Gothic romance perhaps reflects the idea that spooky stories resonate in uncertain times. And of course romantic fiction also continues to provide its readership with the wonderful feel-good stories that readers love.’

Looking forward, I asked Niocla if she thought that the scope for romantic fiction will narrow as lines in the market place are redefined, or do she saw it flourishing as it has done in the past?

‘I see a lot in the press about how the genre is being more and more tightly defined and categorised into sub-genres, but actually at the genre level, in the UK at least, I see it continuing to broaden out. There are romantic relationships represented in a whole range of novels from crime and sci fi to literary fiction. The RNA’s membership reflects that and our awards and events will continue to embrace that wider focus.’

How would Nicola like to see the organisation evolve under your tenure?

‘I’d like to see the RNA continue to provide great support for its membership whilst looking outward a bit more in our promotion of excellence within the genre. We would particularly like to build our relationships within the industry, with booksellers and librarians as well as with publishers and agents. We’d also like to put romantic fiction even more firmly on the map by reminding people what a very successful and dynamic genre it is in business terms.’

Nicola’s natural energy and enthusiasm for the genre shines through her vision, but can romance remain genre specific if there is a need or desire for a more open working relationship within the industry?

‘I think we can do both if we don’t constrain the genre too tightly. Our core role is to support our membership and as this is drawn from a broad range of romantic fiction this fits with the idea of needing a more open working relationship within the industry. With this in mind we are planning a series of joint events with the Crime Writers’ Association and the Historical Writers’ Association, amongst others, where we can explore the things we have in common and the support we give each other as writers more generally.’

 

Nicola Cornick is the author of dual-time gothic novels House of Shadows and The Phantom Tree (HQ) and also forty plus Regency romances. She is a former trustee of the Wantage Literary Festival and a historian and speaker specialising in public history.

 

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Martin Edwards, chairman of The Crime Writers’ Association (CWA), explains what the organisation offers its members.

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‘The CWA is constantly expanding. So are the benefits we offer our members. Writing is a solitary occupation but we offer the chance to join regional chapters, attend our national conference, and receive an excellent monthly newsletter, Red Herrings – plus much more besides. Members value our various social media platforms, and the chance to promote their work to the large subscriber bases of the very popular Case Files and Crime Readers’ Association newsletter. But it’s the collegiate ethos of the CWA that remains its most valuable asset and benefit. In my 30 years of membership I’ve met many wonderful people, and made some very good friends. And their support, through good times and bad, is beyond price.

The CWA has changed a lot in the 64 years since it was founded by John Creasey. Although it is UK based the membership is international and is open to published crime writers, with provisional membership to writers who have a contract but whose book is not yet out: Full or Provisional Membership cost from £55 annually. There is also an option for associate membership for those in the publishing industry.

This does not mean that the aspiring crime writer has been forgotten.

We are keen to encourage new talent within the genre. The CWA is a professional organisation for professional writers, and others in the crime writing business, but – to take just two examples – the CWA Debut Dagger for unpublished novelists and CWA Margery Allingham Prize for new short stories both play an important part in encouraging and developing talent. We also have the CWA Criminal Critique service where, for fees beginning at £87 writers can receive professional feedback on, as yet, unpublished work.

The Crime Readers’ Association, which is free to join, was set up to make the authors, their works and events accessible to their readers. However, the new writer can pick up advice and tips, such as the Do’s and Dont’s when approaching a literary agent.’

Martin is very optimistic about the way the crime genre continues to evolve.

‘Digital publishing is changing the industry fast and nobody knows exactly what the future holds. But crime writing (fact as well as fiction) is as popular as ever. I’m a contemporary crime novelist, but I’ve been delighted by the revival of interest in classic crime fiction, and the truth is that the genre is a very broad church. So is the CWA.’

In light of all the changes that have happened in recent years within the publishing industry Martin views the future of the crime genre and the organisation in a very positive light.

‘I’m confident about the future of both crime writing and the CWA. Despite the fact that we have been around so long, today we have more members than ever before – and the number is rising all the time. That’s genuinely exciting. Writers face many challenges, not just when they are starting out, but throughout their careers, and the CWA is doing more and more to support them. I’ve also just appointed our first Libraries’ Champion and our first Booksellers’ Champion as we seek to collaborate with others for the benefit of all.’

Although the organisation is genre-specific Martin is keen to establish mutual links with other writing organisations within the industry.

‘Whilst the CWA is by definition genre-specific, I’m a firm believer in collaboration, and since becoming Chair I’ve initiated dialogue with a range of groups both here and overseas. A good example is our developing links with the Romantic Novelists’ Association, at both local and national level. Again, these relationships are mutually beneficial, and have great potential for all our members.’

Martin is a relatively new chair but he has already set many new goals to achieve during his tenure.

‘My aim is to oversee the modernisation and professionalization of the CWA, whilst remaining absolutely committed to its core traditional values of collegiality. Achieving this requires action on many levels – local, national, and international. We are modernising our infrastructure, strengthening our finances, recruiting more members here and overseas, and developing relationships with sponsors and other like-minded organisations. What we are seeing really is a quiet revolution, a radical one in some respects, but a process of making sure that the CWA and its members thrive in a challenging environment, and will continue to do so for the foreseeable future. We don’t neglect our past – for instance, we’ve just launched the British Crime Writing Archives at the wonderful Gladstone’s Library, near Chester, with a weekend festival, Alibis in the Archives, that was such a success that we plan to repeat it next year. But we also look to the future – for instance, we’re starting to work with the ALCS, and looking at how we might contribute to the work of the All Party Parliamentary Writers’ Group. A huge amount remains to be done, but our continuing growth illustrates vividly that writers see a real need for the CWA, and are keen to be part of a forward-looking association that always strives to support and promote crime writing in general, and its members in particular, as well as encouraging new writers into the genre.’

When asked what advice Martin would give to new writers of crime he explains that he is a planner.
‘The great thing about writing is this – you can always improve what you have written. A plan works well for me – not everyone is the same, of course. But even the best laid plans are sometimes capable of being changed for the better. So far, I’ve never changed the original solution to any of my novels, but I’ve tinkered with many other elements of my stories.’

Martin Edwards’ eighteen novels include the Lake District Mysteries and the Harry Devlin series, and The Golden Age of Murder won the Edgar, Agatha, H.R.F. Keating and Macavity awards. He has edited thirty five crime anthologies, and won the CWA Short Story Dagger, CWA Margery Allingham Prize, and the Poirot Award. He is series consultant for the British Library’s Crime Classics, President of the Detection Club, and Chair of the Crime Writers’ Association. His The Story of Classic Crime in 100 Books was published in August.

Catching up with Martin Edwards!

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Hi, Martin, and welcome back.  It was great to meet up again and congratulations on becoming the Chair of the CWA.

Thanks, Val. It was a pleasure to spend time in your company at the CWA’s enjoyable annual conference in Edinburgh recently. You know from your own experience that the CWA is a vigorous and highly collegiate organisation. For me, it’s a huge honour to be elected Chair.

Cwa-logoThe CWA keeps growing – it now has more members than ever before in its 64 year history. Although most are British writers, we have an increasing number of members based overseas, plus corporate and associate members involved in many different ways with the business of crime writing. We also prize non-fiction crime writing – a CWA Gold Dagger is awarded each year for the best factual book as well as for the best novel.

So the CWA is a very broad church. That makes it a vibrant organisation, but it also presents challenges. How can we make sure that we deliver value to all our members? That has to be our central aim. It’s not the committee’s organisation, far less my own. It belongs to the whole of the membership. And that’s something I keep at the forefront of my mind.

At present, for instance, self-published writers are not eligible for membership. The writing business is changing rapidly, and my personal view is that our eligibility criteria will change too. But this will only happen when there’s a clear consensus in favour on the part of the membership – it’s not a decision that can or should be imposed.

Already, we do a great deal for our members. If you take a look at the membership benefits on our website, you’ll find that there are very wide-ranging, and rarely matched by comparable groups. Our regional chapters offer an eclectic mix of social and professional activities; each chapter operates with a high level of autonomy, which is the way our members like it. As well as social media platforms, we run the Crime Readers’ Association, with its monthly newsletter going to over 10,000 subscribers. The bi-monthly Case Files has a similar readership. Our members have exclusive access, therefore, to a key target audience, an audience that is expanding all the time.

Golden Age pbkBut I want us to keep growing, and to offer our members even more. My belief is that the CWA’s potential is almost limitless. Crime writing is, after all, enormously popular worldwide, and few “brands” within the genre can match the prestige of the CWA, and of our internationally renowned Dagger awards.

Let me mention just a few of the areas that I’d like us to explore in the coming years – not just while I’m Chair, but on a continuing basis. Our links with libraries are very important, and mutually beneficial. The CWA Dagger in the Library is a popular award, and our National Crime Reading Month links writers, readers, and libraries each June. I’ve just appointed our first Libraries Champion, Ruth Dudley Edwards, who will develop those links further, to everyone’s benefit.

I’m equally keen to develop our links with booksellers nationwide, and with publishers large and small, as well as with like-minded people and organisations in the UK and further afield. So I’m talking to – among others – the Society of Authors, the Romantic Novelists’ Association, the Crime Writers’ Association of Canada, Sisters in Crime, and Mystery Writers of America to explore ways of deepening our relationships to the benefit of all concerned.

And there’s much more – too much for one blog post! But I’d like to highlight the valuable work we do for the public benefit, not least encouraging the next generation of writers via the exceptionally successful CWA Debut Dagger, and also a flash fiction competition for students at the Edinburgh conference. This is another area of our activities that I’d love to expand.

I’Story of Classic Crimem also proud that our archives are a central part of the British crime writing archives now held at Gladstone’s Library. Over time, I hope this will become an internationally recognised resource for researchers and crime fans. The archives are being opened officially at a week-end event in June, Alibis in the Archive, which quickly sold out – surely a sign we are doing something right. In fact, the tremendous level of interest means that we’ve already agreed to run another Alibis next year.

Of course, there are constraints. Our resources are limited, and so – crucially – is the time of committee members who are unpaid volunteers. We can’t do everything we’d like to do, and we will never be able to please everyone – no organisation can. We need to build up our management infrastructure, and operate as professionally as possible, so that our worthy aims can be implemented efficiently and over the long term. Making sure that all this happens in a sound way cannot be achieved overnight. But the portents are good. The future of the CWA promises to be even more exciting than its prestigious past.

Read Martin’s original interview here!

Dungeon House UKMartin Edwards’ eighteen novels include the Lake District Mysteries and the Harry Devlin series, and The Golden Age of Murder won the Edgar, Agatha, H.R.F. Keating and Macavity awards. He has edited thirty crime anthologies, and won the CWA Short Story Dagger, CWA Margery Allingham Prize, and the Poirot Award. He is series consultant for the British Library’s Crime Classics, President of the Detection Club, and Chair of the Crime Writers’ Association. His The Story of Classic Crime in 100 Books appears in July.

The CWA Dagger logo is a registered trade mark of the CWA

Catching up with Valerie-Anne Baglietto!

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Hi Val, welcome back!

Your first interview was back in 2013. So what exciting things have happened since then?

When you asked me, just before Christmas, if I’d like to do this update, I seem to remember silently screaming, No, go away, can’t cope with this, or something along those lines. Basically I was in festive meltdown – organising kids, grandparents, husband etc. – and didn’t want to have to think about work. After I calmed myself down and messaged you back, you kindly reassured me I could leave it until after January.

So here I am, revisiting my old self from a few years back, remembering what goals she set and what she was planning writing-wise. I’m satisfied that she appears to have achieved her aims, and of course, she’s set some new ones since then, too.

 (I’ll slide firmly into first person POV now, so I don’t sound any more pretentious than I have to.)

Firstly, ONCE UPON A WINTER, which had just come out before I was last here on Val’s blog, went on to top the Amazon UK Fairy Tale Chart in 2013 and at the last count had over sixty 5-star reviews. Understandably, I was thrilled about that, considering it was my first attempt at modern magical realism. The feedback from readers, both old and new, was encouraging.

Last time round, I also mentioned a short story I was contributing to the ‘Sunlounger’ anthology organised in 2013 by Belinda Jones. There was another one the following year, and I took part in that, too. My second tale, PANDORA  AND THE MUSIC BOX, has also been a featured read on Wattpad. I hadn’t attempted a short story in years, but I valued the discipline of keeping to a strict, low word count.

As for the novella I spoke about last time, I actually ended up writing two that year. A GIRL I KNEW (formerly known as The Trouble With Knights in Shining Armour) and my Christmas themed THE LITTLE BOOK OF LOST HEARTS. The latter set the scene for the next full length work, FOUR SIDES TO EVERY STORY, which I have to admit is the favourite of my contemporary fairy tales so far. It was shortlisted in the 2015 Love Stories Awards and was a 5-star read of 2015 on Chat About Books.

Last year was a bit of a departure, though, as I started working on something different from anything I’d attempted before. I even invented a pen-name – a whole other person to hide behind, which was liberating. But as the year drew to a close, I realised I wasn’t happy. I missed my fairy tales. For reasons rooted in insecurity, I’d begun to think they weren’t ‘proper’ books, not worthy somehow, and could never stand alongside the amazing, emotive fiction being published today.

Then it all changed. FOUR SIDES TO EVERY STORY was listed as a top read for 2016 on Portobello Book Blog, along with a dozen other titles, many of which I’m in awe of. Out of the 140 or so novels Joanne (@portybelle) had read that year, mine had been memorable enough to hover in her top 10(ish). I felt touched, and very grateful. Something clicked in my fragile writer’s brain. A realisation. Just because I choose to weave reality – or our concept of it – with traces of magic, doesn’t mean my work isn’t of value, or unable to hold its own in a crowded market. If this were true, then why is it  some of the most famous and enduring stories in our culture happen to be fairy tales, myths and parables? All through history, fiction has worked to make sense of the world around us, and often metaphors are the best way to do it.

So, when the kids went back to school at the start of this year, I dug out a notebook bursting with the plot for a sequel to FOUR SIDES TO EVERY STORY, and sat down as Valerie-Anne to begin this new project. And that’s what I’m working on right now. Oddly, it’s as liberating as having a pseudonym. I feel as if I’ve come home, having forgotten what a wonderful place it can be. I’m  energised by my writing again, rather than drained, and excited to find out what 2017 holds for me.

Thank you, Val, for inviting me to return to your blog, to share an update. I’ve enjoyed looking back as well as forward, and come to the conclusion that it’s quite a healthy thing to do at this time of year. Maybe everyone should give it a go!

 Exciting times for you, Val. I wish you every continued success in the future!

Meet Sophie Duffy!

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When did you discover your love of books?

I could read before I started school so as long as I can remember I’ve loved books. Mum or Dad read to me every night and once they’d tucked me up, I would hide under the bedclothes with a torch, up late (a notoriously bad sleeper all my life), with a heap of books, looking at the pictures and making up stories until I could make out the text. I loved Ladybird books (which I still have on my bookshelves), Enid Blyton, especially Mr Pink-Whistle and Amelia Jane, and ‘Twinkle’, the comic I got every week as we lived above the newsagent’s run by my parents in Torquay.

When did you decide that you wanted to write your own?

I wrote a lot of stories when I was a child but that fizzled out by the time I reached secondary school when I was more concerned with Wham! and boys. At university I studied English and wrote bad poetry. It wasn’t until my children were small that I went to a creative writing class at the adult education college. By the end of that first lesson I was hooked, and knew I wanted to be a writer. I was 33. It was another ten years before I had my debut novel published.

What can a reader expect from a Sophie Duffy novel? 

The reader can expect a nostalgia-fest with a few tears and laughs along the way. They will get a blended, dysfunctional family or group of friends, and a main character trying to negotiate their hazardous journey through the world with all its ups and downs.

Change and facing the difficulties that this presents is a strong theme in your novels. How much of an influence has change in your own life experience driven the empathy you create for your own protagonists?

 The one certainty in life is that we will face change. It’s how we adapt to change that marks us as individuals. Sometimes we resist change, sometimes we embrace it. We might make bad decisions. We probably will. And it’s the repercussions of these decisions that echo down the years that I am interested in as a writer.

 

The award winning The Generation Game (The Yeovil Literary Prize 2006 and Luke Bitmead Bursary 2010) confronts many issues including childhood abandonment and buried secrets. Where did the idea for this acclaimed novel come from?

The idea for ‘The Generation Game’ came from a short story wot I wrote. The idea for the story came from my early childhood when we lived above the newsagent’s (also a sweetshop/tobacconist’s) in the early 70s. Sadly, my father took his own life when I was ten which I suppose counts as abandonment of sorts, so maybe that is why I am drawn to this as a theme. Love and loss go hand in hand but I truly believe that love – often from unexpected places – conquers all. I have bitter sweet memories (if you’ll pardon the pun) from this era, as do most of Generation X who grew up in the golden years of Saturday night television. We have seen several of our childhood icons fall by the wayside in the wake of Operation Yewtree. Thank goodness for Sir Brucie is all I can say.

This Holey Life (runner up of The Harry Bowling Prize 2008) is another successful novel that looks at change and faith with humour, yet balanced reality. What was the greatest challenge this project posed?

I was worried that readers might be put off by a vicar’s wife as a main character but felt encouraged when I saw ‘Rev’ on the television, a sitcom which looks at life in the church and all the eccentric characters that make up a spiritual community. It’s not a ‘Christian’ book as such but a story that embraces life with all its flaws and imperfections.

 

You are part of the Creative Writing Matters team. How much do you enjoy sharing what you have learned with new writers?

It’s brilliant! I know how much I have learned and continue to learn from other writers. I know that being a writer is a life long process and that I receive more from my students than they get from me. Administering the Exeter Novel Prize and the Exeter Story Prize has also been a revelation. Having read hundreds of thousands of words over the years, I understand more about what makes good writing and good storytelling. I hope this feeds into my own work!

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What key piece of advice would you give to an, as yet, unpublished author?

If it’s what you really want, then keep trying. Don’t give up. Enter competitions where your writing will be both read and considered. Keep writing. Read a lot. Listen to feedback, sit on it, and when it rings true, rewrite, edit, submit.

 

What is next for Sophie?

I have just signed a contract for the next book. All I can say for now is the novel involves two ninety year old ladies, one of whom is the queen. Watch this space…

Catching up with Sally!

 In November 2015 I interviewed Sally Bridgewater, Creative Writing Courses & Competitions Coordinator for Writing Magazine, who was about to embark on an extreme writing challenge of hitting the 50,000 word target for the NaNoWriMo Challenge – but in one day!

I thought I’d catch up with Sally and see what has happened since.

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Hi, Sally, welcome back.  Can you share with us what has happened as a result of completing the challenge?
Doing the twenty-four hour wordathon was a fun challenge, but I wouldn’t class it as life-changing. I did really appreciate getting the chance to write a piece about it in the Writing Magazine, which is my first proper published article. It did really help me get the rest of my novel draft done back in November 2015, and getting a full draft down on paper gave me a lot more confidence that I really will finish this novel one day.
Have you submitted the finished draft yet? 
Nowhere near! I took a break after NaNoWriMo in 2015 – one of the downsides of taking on extreme challenges is that afterwards you usually feel in need of an extreme rest. So I only picked my novel back up in April 2016, when I started world-building and generally trying to re-plot the whole thing. I just aimed for twice a week as I’ve been pretty busy with other things, and that gave me a good stretch of steady progress on it over the summer.
Believe it or not, I have not yet gone back and re-read what I wrote in the wordathon or in the rest of that November – as soon as I started working on the novel again I knew I’d be changing so much that there wasn’t too much point in working from the draft outwards. I still don’t see it as a waste of time though – doing that really rough draft gave me a rough sense of the characters, the world, the plot, and most especially got me far enough to imagine what would happen at the end. All of that was crucial, and as I am a first-time novelist I don’t think there was any other way for me to work out a full plot from my first ideas. I’m hoping with my second or third book I won’t have to write completely discarded drafts though!
I hope not. However, I can see how completing this punishing challenge has taught you so much and given you a tangible first draft to build upon.
In November 2016 I wanted to do NaNoWriMo again, of course, and I was aiming for a complete rewrite of the novel with my new plot. Even though I was the most prepared I’ve ever been, with a spreadsheet of all the scenes I was planning, unfortunately life got in the way. I finally reached the top of the waiting list for a much-delayed jaw surgery during November so I had to give that priority. I thought lying on the sofa recovering would give me lots of time to write, but it turns out that healing is a lot more tiring than it looks! I didn’t want to push myself while I was obviously not at full health, so I’ve not given myself a hard time about it.
I hope you are fully recovered now. What are your writing goals for 2017?
Get this second draft finished! I have recommitted to writing 1000 words a day, and it’s really working pretty well at the moment. I use the Jotterpad app on my phone to write on the bus on my way to and from work, and I am genuinely surprised how much easier I find it to do that than to carve out a chunk of time to sit at my computer – somehow that just feels more like Hard Work. I am using all the psychology tricks I can to make it easier, such as congratulating myself just for making the three short taps it takes to open the Jotterpad on my phone. I know that’s all I have to do really, and then once it’s actually in front of me it’s much easier to contemplate doing the actual writing.
I am also using a site called Beeminder.com to keep me on track – it makes a graph of a goal you want to achieve, so in my case I have one tracking the number of ‘days I worked on my main fiction project’ and I’ve set my target as only three days a week. This is because if you fall off the line on the graph of how many things you said you’d do, then Beeminder charges your credit card an ever-increasing amount of money. It is scarily effective at keeping you motivated, I’d seriously recommend it for anything you’re stuck on.
I’ve then got a great writing project I’m looking forward to in April – my friend Tonks and I (who helped with the Wordathon in the first place) have agreed to do ‘Camp NaNoWriMo’ and make it Editing Month. The real twist is that I will edit her first draft and she will edit mine. It’s a little scary but we trust each other and it will be so much easier seeing how to improve someone else’s work rather than your own. So that gives me a deadline to get the second draft done!
If anyone would like to follow developments, they can like my Facebook page at www.facebook.com/SallyBridgewater. I could do with your support!
I wish you a very happy, healthy and successful 2017!

Catching up with Cathie Hartigan

Thank you for inviting me back on your blog, Valerie.

You are welcome, Cathie. So what has been happening in your world since I interviewed you and Margaret James in July 2015?

I can’t believe that it’s been a very busy eighteen months since Margaret and I were here last!

Our textbooks, The Creative Writing Student’s Handbook and The Short Story Writer’s Workbook have proved to be successes for us and we hope they had helped those who have read them. The feedback we’ve had has been fantastic. The handbook was one of our early projects, but more recently, the whole team at CreativeWritingMatters, that’s Margaret James, Sophie Duffy and myself, published A Christmas Celebration, an anthology of stories, quizzes and puzzles. A perfect Secret Santa!

It seems only yesterday that we set up CreativeWritingMatters, but recently, the ever-watchful Facebook reminded me the page is already five years old. It isn’t really surprising when I think of how our competitions; the Exeter Novel Prize, Exeter Story Prize – including the Trisha Ashley Award for the best humorous story, have become fixtures in the literary calendar. Trisha is a Sunday Times bestselling author of romantic comedies and knows a thing or two. We are delighted that so many of our winners and shortlisted entrants have achieved publication.

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Right up at the top of the achievement list for me personally in the last year and a half, is the publication of my debut novel, Secret of the Song. It’s a time-slip mystery set in renaissance Naples and contemporary Exeter (my home city). I knew little about wicked Prince Gesualdo whose music and madness lies at the heart of the story, but my research soon revealed that the Italians make our Tudors look like lightweights when it comes to bad behaviour. How awful, I thought, for those innocent servants who were caught up in the crimes of their masters and mistresses. When I read the witness statement of a young maidservant, I straight away heard the voice of my heroine.

Secret of the Song’s success has been really thrilling, especially after I decided to independently publish. This decision was made after considerable thought, and only because I was reasonably well established with the textbooks, short stories and competitions. Everyone who read Secret of the Song was enthusiastic, but when it came to agents and publishers the response was the same. Loved it – don’t know how to sell it. Music is too niche. Hmm, I thought, tell that to Gareth Malone.

A word of warning to anyone thinking of self-publishing – if it’s for your friends and relations, that’s fine, but if you want a wider readership, you’ll need a huge social media presence before you publish. Make sure you get a professional edit and proof as well.

One of the most exciting things about preparing your own book for publication is that you get to decide on the cover. I opted for Berni Stevens, a cover designer with considerable experience. I couldn’t be more pleased with the result.

One year later, having reached number thirty-five on Kindle and acquired over fifty rave reviews, I’m happy to say that’s not the case. Phew! Thank you, lovely readers.

I wish you all a very Merry Christmas and every continued success in 2017!