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Association (RNA), an historian and award winning novelist, explains what the organisation offers both published and unpublished writers of romance.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The organisation also welcomes and encourages as yet unpublished writers into its ranks.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 Margaret James!

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Welcome back, Margaret! I was amazed when I realised that you were my first guest in 2013!

I was amazed, too! My goodness, doesn’t time fly? Perhaps this is because writing a novel is such a long process and sometimes another year goes by without us really noticing? It’s very good to be back. I see that since we were last in contact you’ve had several of your books published by Endeavour Press.  Many congratulations!

Thank you! I love the cover of your new novel ‘Girl in Red Velvet’, which is book 6 in the Charton Minster Series. What inspired you to create this series?

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The inspiration for the Charton Minster stories was driving past a country house in Dorset at least a decade ago. I wondered who lived there and later that evening my imagination started to run riot, conjuring up a whole family and their descendents. The first novel in the series is The Silver Locket, which is Rose Courtenay’s story. The subsequent five novels are about Rose’s children and grandchildren and even her great grandchildren.

Who is the ‘Girl’ in Red Velvet?

The girl in Girl in Red Velvet is Rose Courtenay’s granddaughter Lily Denham, who goes to university in the 1960s and meets two men who become her friends, the three of them have some great fun together, but then Lily finds she is falling in love with both of them. She makes a choice which looks as if it will turn out to be a very bad choice indeed. Or will it? What do all three of these people want and how will they get it? I hope I’ve given them plenty of challenges but that I’ve also given all their stories satisfying endings.

Do you remember the 60s with fondness?

I do because I was young and at university myself and having a lovely time living away from home. It’s quite difficult for younger people alive today to realise what a huge place the world was then. I went from living in a small rural community where I never met anyone who wasn’t British and white to living in a big city where I met and made friends with people from all over the world.

What is next for Creative Writing Matters?

We’re expanding our range of writing-related services all the time. We run two major international competitions (The Exeter Novel Prize and the Exeter Story Prize which incorporates the Trisha Ashley Award for a humorous story) and we offer mentoring and various shorter courses and smaller competitions, too. We’ve found that offering feedback on competition entries has proved very popular so next year we will be doing more in that respect by offering feedback on some of our short story competitions as well as on entries for the Exeter Novel Prize.

What is next for Margaret?

It’s reading the entries for this year’s Exeter Story Prize, which closed on 30 April. We’re constantly astonished and impressed by the range and quality of entries, so although this is a pleasurable task it’s always quite demanding, too.

I wish you every success with all your amazing ventures. Reader’s can follow Margaret on: Facebook Twitter    or you can visit  Margaret’s blog

FOR THE LOVE OF WRITING: INSPIRATION AND MOTIVATION

picture1In previous blog posts I have looked at how to keep yourself fit for the task of writing thousands of words and then how to set realistic goals to achieve them. Before moving on to looking at the actual writing of the fiction, two factors play an important part in beginning and completing the process: inspiration and motivation.

Where do you get your inspiration from?
What motivates you to write fiction?
These two questions are asked to many authors and the answers may be as varied as the individuals who the questions are posed to.

I am constantly inspired by anything from a name, a newly learned and intriguing little known fact, a place that sparks an idea or a simple overheard statement. Inspiration is all around us, we just have to be open to it and use our imaginations to ask that simple question: “What if?”

Once inspired to write, then motivation kicks in to drive our effort so that the idea turns into a real manuscript. We can be both inspired and motivated at the same time by reading our favourite author’s work.

Here are a just a few common motivators:

  • To escape from reality into a world of our making that we may or may not share with others.
  • To earn money (realistically, this is not an easy industry to break into or make a liveble wage from.)

Whatever your inspiration, you need the motivation to keep going, learning and growing as a writer; going beyond rejection to reach that place of acceptance and becoming a published author.If you choose to write for your own enternment that is fine. Once published there are always those who will look upon your work negatively and leave reviews to say so. This should not stop you writing what you want to, but the choice and opportunity to become published does mean that you have to accept the positive and negative reviews alike. Ultimately we have to believe in what we do.

Learn from those who have done it and also from any of their early mistakes, so that you can avoid some of the common errors yourself. Accept that it is all part of undertsanding the business and put rejection and destructive criticism aside, which is why I share author interviews, whilst taking on board the constructive advice.

Once you are keen to begin your project, then set your realistic goals and be determined!

You can network at conferences, online and in local writing groups. Or invest in a reputable course, join in schemes such as The New Writers’ Scheme run by the Romantic Novelists’ Association and seek professional feedback.

Writing is a lonely business. I am often asked how can you teach a person to write a novel or short fiction. My answer is simple: imagination can be encouraged not taught. It has to spark from within the writer. However, there are common errors new writers make as they learn their craft that can be corrected. Every person, every student that I have had the pleasure of teaching over many years has been unique. Therefore, my feedback is always tailored to the individual. If you have a manuscript that you are working on at the moment, or have finished, and would like constructive, professional feedback on, then please contact me on vholmesauthor@gmail.com for a quote.

What inspires or motivate you to write?

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!

Ravenscar – The dream resort that was an investor’s nightmare.

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Between the famous resort of Scarborough and the ancient port of Whitby lies the little known village of Ravenscar, formerly named Peak. Today this slightly remote headland location is home to a cluster of houses, the National Trust Coastal Centre and the impressive Raven Hall, built C1774, which has fine views over the sea and across the bay to Robin Hood’s Bay.

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The Hall became the Raven Hall Hotel in 1895 and now also has a frequently windswept golf course. The impressive castellated hanging gardens even have a sheltered cubby hole in the rock, which could be used to shelter from the storms and north easterlies, or even possibly to have been used to signal out to sea.

The existence of Ravenscar is owed to The Peak Estate Company who wanted to create a holiday resort to rival its successful near neighbours. Their ambition was great. The railway line brought prospectors to this healthy resort between moor and sea. Streets named after previous invaders were planned: Roman, Angle, Saxon and Dane.

The main drawback, other than its exposed position, was that the fine sandy beaches, which can be found at Scarborough or north of Whitby, did not exist here. It is situated on a headland with a cliff face over 600 feet high. The way down to the sea level is precarious and the shore rocky. Although you can sometimes see seals, it was hardly going to attract the traveller who wanted to enjoy seaside walks or dips. Drains and water supply were installed, but of the 1200+ plots there were insufficient buyers to make the town viable and so the company ceased in 1913.

Now, the area is a real draw for walkers, ornithologists, painters, and nature lovers. You can explore the deserted workings of the alum works. It is this history that brought me to this beautiful yet wild spot. When researching for ‘To Love, Honour and Obey’ and the region for Abigail Moor I looked into the history of the Yorkshire alum industry and discovered the Peak site. Admittedly my fictional workings were north of Whitby, but the importance of the industry and the links to London was based on facts.


Today if you visit the National Trust Visitor Centre you can follow a looped path (2.2 km/1.35 miles) that takes you to a viewpoint across the bay, across the golf course past the fresh water pond, skirting the bluebell wood down to the alum works. Once you’ve circled the remains, double back up the other side of the bluebell woods to the brick works and back along by the railway cutting to the coastal centre.

dsc09461You can join the Cleveland Way from here, and in spring the bluebells are beautiful.

The inclines make the walk slightly more challenging, along with the strong winds that were cutting inland from the sea on the day I visited. It is a wild setting, but well worth a visit for the views alone.