Category Archives: Writer Interviews

How I got a Literary Agent.

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In January this year one of the most amazing things happened to me: I got a literary agent. Having an agent was always something beyond my wildest dreams, more than that, my agent is the amazing Susan Yearwood. Champagne popping time indeed.

I spent the months in the run up to Christmas researching agents and sending off submissions. I went through The Writers’ & Artists’ Yearbook with precision, choosing ten agents to send my book off to. I researched every agent heavily and Susan called to me. There are a few interviews I found in which Susan and her ethos resonated with me. I knew she was The One.  In fact, before her email asking to schedule a call with her, I had a dream she was my agent and we were being interviewed at a literary festival together.

In the end I sent my first novel off to a lot of agents and publishers. I got a lot of good feedback and a few full manuscript requests. I also got a wonderful rejection from Harper Collins, who read the entire thing and sent me four paragraphs of feedback. They even asked me to send them anything else I wrote. In the end Susan passed on my first novel, but she liked my writing enough to ask if I had anything else I could send her. Thankfully I did. I always write a first draft of a book and then get started on another one while I let the other one sit. Then I go back to it with fresh eyes, alternating my drafts. I did not think the other book was ready and had spent hundreds sending it off to a professional editing agency for feedback. By the time the feedback came back Susan had been my agent for three months! It may have been a waste of money, but I have no complaints.

Susan loved the book and took my on as a client after our phone call. I was a true pinch me moment. For anyone who wants an agent and does not have one yet I would say the following things:

  • Write a good book. Send off the first three chapters, along with a synopsis that really grabs.
  • Collate all of the writing you have done and any awards you have won. Write a paragraph about yourself that sells all you have to offer. Covering letters are important.
  • Get a copy of The Write”s and Artists’ Yearbook and research what agents work in your genre.
  • Start submitting.
  • Keep submitting.
  • Take rejection in your stride.
  • Listen to all feedback.
  • Redo your submission to suit various agents.
  • Start writing your new book.

 

Good luck!

 

WELSH WRITING WEDNESDAYS: ALIENORA BROWN ON THE INFLUENCE OF THE WELSH LANGUAGE

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I arrived in Aberystwyth train station, on October 3rd 1976, and, bathed in a sunset of extraordinary richness and colour, was driven up the Penglais Hill – by coach and surrounded by other students – to the Penbryn Halls of Residence.

Is it possible to fall in love with a place at first sight? Yes, it is – and I did! That first glimpse, stark hills rearing in the distance, struck a sweet blow to my heart – and, the very next day, seeing parts of the promenade painted with blazing autumn gold, as grey silken sea undulated nearby, ignited a passion for West Wales which has never left me.

But it was the language which shivered and undulated in watery mystery; which gave me the delights of the double ‘ll’, the mutations from the ‘M’ of ‘Machnylleth’ to ‘Fachynlleth’ when preceded by ‘Croeso y…’ and the other sibilant mysteries of this proud tongue.

I had already decided to read joint English and Philosophy – and, told that I needed a third subject for that crucial first year at university, opted for Welsh with excitement and anticipatory joy.

Welsh lessons took place in the Old College/Yr Hen Goleg – and so the learning of this new language was accompanied by the stunning glimpses of the sea, often wild and raging, throwing its waves high up against the venerable old building’s sides and windows, rattling fragile sashes and leaving salty trails on glass.

Our teacher, Professor Edward (Tedi) Milward, was lovely – a gentle and knowledgeable soul who was a passionate advocate of this endangered language, and whose family I befriended during that first year in Wales.

From the very first lesson, I adored the sound of Welsh: its musicality; its sing-song quality; the subtle differences in pronunciation; the meanings of place names when broken down into their component parts.

At around the same time, I joined a university choir – and we learned a beautiful Welsh carol ‘Tua Bethlem Dref’ in readiness for what turned out to be a most moving and inspirational Christmas service in a local church.

Unfortunately, my passionate love of the language was not matched by any genuine learning ability – and, suspecting I would not gain that all-important pass in the subject, I made the difficult decision to give it up at the end of the first term, taking Classical Studies instead.

The odd thing is this: naturally musical, I learned the sounds – the inner song, if you like – of Welsh with ease, and, to this day, can read and pronounce it without any problem. But the ability to understand the rules, learn the words, tenses and so forth eluded me (as it had done, at school, for both French and Latin).

But, being given the key (or should that be the lyre?) for the plangent tones behind the language was a privilege and a life-long delight. Much of my enjoyment of the sublime landscape and magic of that area was filtered through the lilt and cadence of the language itself.

By a strange coincidence – and bringing things full circle – I got the part of the Lady of the Lake in a local Glastonbury production, back in 2018. Told that the character needed to enter the stage singing a solo, I opted for ‘Tua Bethlem Dref’ – and can recall vividly walking up the centre of the Town Hall, the words of that long-ago Welsh song ringing and echoing from my throat: a love song for a time, a place and an ancient language.

 

 

 

How I Got Published By Alec Marsh

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Alec Marsh, writer, authorWhen I was 21 I started to write a novel. It wasn’t very good. I was working as a reporter for a local paper in Cornwall and my book… was about a reporter working for a local paper in Cornwall. 

Soon I moved to London to work for the Daily Telegraph and started writing a second novel. It was about a young journalist working for a newspaper in London. 

It wasn’t very good either. 

I met a top agent at a function and asked him if he’d see it. 

‘What’s it about?’ he asked.

After several seconds of flannelling he cut in: ‘If you can’t tell me in under 11 seconds then I’m not interested.’ 

I’d been introduced to the idea of the elevator pitch. If you can’t encapsulate your idea in a nutshell, you’ve had it.

I kept writing and the rejection slips (paper in those days) kept piling up.

Then one day a friend suggested I try my hand at historical fiction. ‘You’re obsessed about the past,’ he said. And it was true.

About a year later I read The Da Vinci Code, and was hooked. 

And I thought, “I can do that.”

So I started thinking about a historical mystery that could sit at the heart of a story, and some characters that would have sticking power.

That was around 2004. Before I knew it, I had started writing what would become my first novel, Rule Britannia. And I knew I was onto something, I could feel it in my fingertips. My characters – a historian and mountaineer Ernest Drabble and his pal, a journalist named Harris – were alive. And so was the story.

With a half-written book, I started polishing and went looking for an agent. Again the rejection slips piled up (still paper).

Then one day in 2008 an email landed at about 6pm on Saturday evening from an agent. Do you have any more, he asked?

I didn’t sleep that night. Soon I’d emailed the next three chapters, then we had a meeting. After that, I had an agent and went off to finish the book – armed with the self-confidence to finish it properly, to believe in myself and the benefits of his insights.

The agent then took it to market. But it was 2009 and e-readers, Amazon and the global financial crisis was hitting hard, and – for whatever reason – my book didn’t sell. After a dozen very polite rejections from major publishers, my agent suggested I try writing a different book. Which I did. 

For five years I wrote a book set in the First World War, but Drabble and Harris were still in the back of my mind, calling to me from the binary prison of a hard drive. 

By 2015 the First World War book was finished – but so was my relationship with my agent who finally spelled it out to me when he told me this was not a book that he could sell to his clients. We were finished.

Exhausted and disappointed, I stopped knocking on doors that wouldn’t open and focused instead on my day job. Every now and then someone would ask about Drabble and Harris; I would change the subject.

Then my son Herbie was born in 2016, and his arrival rekindled my ambition. So in the small hours, I dug out Rule Britannia and reread it, shook my head at parts that hadn’t aged well, and I polished it. And I pitched it again.

After a string of rejections (emails now), I went direct to publishers, finding an independent in Cardiff, named Accent Press. 

When the owner telephoned me and told me she’d take it – and she’d want two more books after – I was standing in a corridor at work. I didn’t punch the air, but a tear might have come to my eye. It had taken 20 years and I had endured numerous disappointments but it had finally happened. Drabble and Harris would get to their readers, and I was going to have a novel out. So what’s my advice for would-be authors. Don’t give up. And as Martin Amis once told me when I asked him for advice at book-signing: keep writing. After all, what else are you going to do?

Alec Marsh is author of the Drabble & Harris novels, published by Headline Accent. The latest book, ‘Ghosts of the West’ is published in original paperback and ebook on 9 September

 

WELSH WRITING WEDNESDAYS: INTRODUCING INDEPENDENT AUTHOR ALIENORA BROWNING

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Writing is, for me, like breathing: I feel oxygen-starved without it, and it has the same natural rhythms, dips and soaring highs. It is also my dominant ‘voice’ since I tend to be a listener, rather than a talker, in many situations.

I do not remember learning to write per se, but I do recall a wonderful ‘Aha!’ moment, when I was five or six, when I suddenly made the connection between the five letters which made up my nickname, its sound and the fact that it was part of me!

I wrote a play when I was eleven – and have it still, neatly written in a little blue exercise book. This was during the summer of 1969, just after my class watched the Moon Landing – and as I waited to start grammar school, having passed the 11+.

I can see that younger self, sitting in the hammock in the back garden, pen in hand, sun shining down on my hunched back, scribbling away – and feel the wave of creative excitement which lifted me up and suspended me, briefly, above the everyday world.

My now-nearly-fifty-year journal-writing habit started by accident (in the sense that I had never thought of such a way of expressing myself until then) in early January 1972.

Two days before my fourteenth birthday, a group of us from my school went to Glasbury, in Wales, for a fortnight of physical activity: climbing, canoeing, camping, gorge-walking and so forth. As part of the course, we were each given a pale green notebook – and asked to keep a diary account of our experiences.

I fell in love with this means of expression immediately – and, while most of the girls loathed having to do it every day, I relished the exercise and very much felt as if I had found my voice, as a girl and as a writer; in fact, so enamoured of it did I become that I ended up filling two green books!

I now have over a hundred volumes of the journal, currently stashed away in a safe space – and use it almost every day (though there are, inevitably, gaps over the years and decades), even writing in it whilst in labour and on the day my son was born!

The novel-writing came upon me towards the end of my time at Aberystwyth University – and early drafts of books won me an honourable mention, a third prize and a first prize in local South West Arts Writers in Progress awards.

Motherhood, marriage and full time teaching very much put the novel-writing side of things on the back burner – and it was only when I took early retirement in 2011 that I was able to complete previous books and write more.

I now have seven books published via Amazon and KDP (all available as both e-books and paperbacks) – and ideas for an eighth are bubbling excitedly away in my creative cauldron.

The truth is very simple: I absolutely love writing – and that intimate, joyous connection between mind, hand, pen and paper never fails to delight and inspire me.

 

 

EVA GLYN ON THE INSPIRATION BEHIND THE OLIVE GROVE

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Sometimes an idea for a book creeps into your heart and stays there. That was how The Olive Grove started for me, with a story told by our tour guide when we were on holiday in Croatia.

We were on a small-boat cruise that began in Dubrovnik and after visiting the main islands off the Dalmatian coast and some interesting places on the mainland, ended up in Trogir. And when we were on board travelling there were talks we could listen to and to make our experience complete we wanted to lap up every one.

The war in Yugoslavia was perhaps not a particularly enticing topic when the alternative was to sit on deck, watching the glistening sea ripple alongside the boat while soaking up some sun, but I remembered hearing about the war on the news at the time and was keen to know more. And then, somewhere between the dates, whys and wherefores, our guide Darko began to tell an incredible story. His own.

I suppose I had assumed Darko was Croatian, but he is in fact Bosnian and grew up in Mostar, one of the towns that was to be worst hit by the fighting. His father was a soldier in the Yugoslav army, but when everything fractured and splintered he followed his ethnicity and joined the Croatian side, having to leave his Serbian wife (and Serbia was now the enemy) at home with their sons.

I will never forget the silence in the room at the horror of what we were told. No electricity, no water, bombs raining down, queuing for food at the community organisation – life as we would all recognise it wiped out over the course of a few days in a war that would last for years. Darko’s life moved underground to the shelters, because they were the only safe place. And he was one of the lucky ones, because living in the army housing meant the shelters were purpose-built, deep and strong.

There were moments to awful to contemplate. Darko’s mother actually disappeared, as many people did during ethnic cleansing, but he was one of the few lucky ones because she actually came back. But there were moments of light too; finding a food parcel dropped by the UN and hoping it was one with chocolate inside.

These incidents and more form the kernel of The Olive Grove, but viewed through the prism of time by my proud Croatian character Damir. Orphaned during the war he was brought up by his aunt on the beautiful island of Korcula (which we visited during our trip); brought up to forget everything about his life before he came to the island. But when she dies, the past creeps back to find him.

While Darko wears his wartime past with relative ease (which is often the case when everyone around the child is having the same experiences, when the awfulness becomes a sort of normal), fictional Damir no longer can. And help comes from a surprising quarter. A middle aged English woman called Antonia who feels she has messed up her life so badly she takes a job on the island to take stock and to heal.

And that’s what The Olive Grove is really about. It’s about healing and friendship. Like Darko’s childhood memories there is sunshine and shade. And unlike them there is the most incredibly beautiful setting.

With Darko’s help over countless Zoom meetings during lockdown I have been able to create authentic Croatian characters and culture, so as well as the initial inspiration, there are many other reasons why The Olive Grove could not have been written without him. And what’s even better, we have become friends across the miles too.

How I Got Published Jenny O’Brien

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There are many roads to publication. But as a forty-year-old with three kids of three and under, including twins and a busy job as a nurse, none of them were for me – or so I thought. Then a character popped into my mind. An earworm that wouldn’t go away. A little boy called Dai Monday. It took me a year to find the courage to pick up a pen. With no time to write at home and a busy day job, I took to carrying a notebook around in my scrub top. This notebook got filled during my 15 minute coffee breaks. Within 6 weeks I had a very poor, first draft of my first book.

Jenny O'Brien , author, writer, how I got published ,

Fast forward five years. I was still writing but with no thought of publishing until peer pressure and a bullying incident at school led me to self-publish Boy Brainy. Six more years quickly followed in tandem with a box full of rejection letters. I’m not sure how many rejections—too many to count but not so many as to blunt my determination to succeed.

It took twelve years to find a home for my writing. Twelve years when my writing improved, but also the quality of my query letters. Never underestimate the importance of a well-crafted query letter!

But, in the end, the years didn’t count for much. It was a few quirks of fate that pushed me over the finishing line. A change in genre from children’s books to romance and finally crime fiction. BookBub accepting me for a book promotion the first time I applied. One last push to secure a publisher and, finally, engineering the date of the BookBub promotion to coincide with my query letter arriving at HQ Digital, an imprint of Harper Collins.

I said at the start that there are many roads to publication. While I wouldn’t recommend mine to anyone, there are lessons to be learnt. If you are struggling to find the time to write, change how you view time. Chunk it into 15-minute sessions instead of hours. Those few minutes add up. It might mean writing in transit but that’s easily catered for with a notebook or even a mobile phone. To rephrase a well-known saying. There is always a way, but first you must find the will. My BookBub deal was a fluke, but what followed wasn’t. There’s nothing wrong with nudging luck along with a little gentle manoeuvring.

Good luck!

Jenny O’Brien is an Irish writer of the Detective Gaby Darin series published by HQ Digital.

My Writing Process Ray Star

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Ray Star, author, writer, how I write, my writing processWhat you have written, past and present

I wrote my first story when I was ten, scribbled untidily onto folded green paper, unevenly stapled together with crayon illustrations on every other page. My teacher had tasked our class with writing a story to include three things: a waiting room, a light switch and a wish. I opted to write a tale of a young girl who found herself in a magic waiting room that gave those worthy a wish, if fate called upon them to use the light switch. I received my first A+ and have wanted to be an author ever since.

After my school years, I dabbled in freelance journalism, covering ‘real life’ stories for tabloids and the women’s weekly’s in my twenties but found this mind numbingly painful. To the point, it put me off writing for a while. I ended up starting my own PR firm and then, life got in the way, as it so often does, and my dream of one day becoming a successful author was lost to the 9 to 5 routine and all that falls in between.

It wasn’t until quite recently in 2018 that the idea for a story found me, and it wouldn’t let me be. It would find me just before I fell asleep at night, an array of nameless faces that needed their stories to be read, heard and understood. The title came to me when I was at lunch with my mother one afternoon, and a year later, my first draft copy of Earthlings – The Beginning was ready.

  • What you are promoting now

My debut novel Earthlings – The Beginning, is book one of a YA Fantasy trilogy with a message to the narrative, and launches on August 12th, this year.

Earthlings is the story of a young girl named Peridot, raised with the realities of her world hidden from her by an overbearing mother. One day, a young boy Euan unexpectedly comes into her life only for him to leave as quickly as he came, from that moment onwards, her world is never the same. Peridot leaves the clutches of her mother’s home in the hopes of finding her friend, only to discover all she believed to be true, to be something else entirely. 

We follow her journey into a world filled with magick (yes magick with a ‘K’), wonders and horrors that Peridot couldn’t have fathomed in her wildest dreams – or nightmares. For every step she manages to get closer to her friend, something new and unknown gets in her way. There are many twists and turns in the Earthlings tale but ultimately Peridot’s story is one of finding friendship against all odds and trying to do the right thing – no matter the consequence.

www.raystarbooks.com

  • A bit about your process of writing

I’m going to be completely honest with you – I have no process! I wrote most of Earthlings when I was pregnant with my first born, which was utter bliss. Just me and my bump and a fresh pot of tea, writing away by an open window with the breeze fluttering past to keep us company.

The remainder of Earthlings was written with a new-born, which never in my wildest dreams could I have fathomed would be as hard as it was, but I did it, and then, just to make things that little bit harder for myself, another bump came along. Bump number one is now aged two, and his brother, is eight months.

Writing time now, is done in the rare moments of quiet, which admittedly, are far and few, but when they find me, the story flows and I find ‘the zone’ as I call it, quite easily. Writing is the one thing in this world, other than my boys and a good strong cuppa coupled with dark chocolate digestives, that brings me peace.

  • Do you plan or just write?

Planning to write when you have children, is like planning to have an early night when you have children. It does not happen. It works in my favour to not make plans, and then by not making plans, enables the possibility of that plan taking place… if you follow!

  • What about word count?

For a story to be the best it can be, I have to allow it to flow naturally. If I force myself to write a set number of words, they become in danger of becoming precisely that – just words. I used to set the target of writing 200 words a day but by doing that, I did the opposite. Word counts seem to be counterproductive for my style of writing and I prefer to enjoy the story as I write it, whether its 50 words or 500. The story will write itself if you give it time.

  • How do you do your structure?

Alike the above, I had no set structure for Earthlings, I sat down and wrote the story as it came to me when I was in the moment. Although, Earthlings is book one of a trilogy and with book two, there are specific moments that needed to happen, so I made a point of having a list of key events that I ticked off as they were complete. 

Editing wise; I tend to write a chapter or two, read through and do a light edit, then keep writing. This way, when I come to edit properly when my first draft is complete, most of the leg work is done and the editing process isn’t as daunting.  

  • What do you find hard about writing?

The environmental cost of books plays on my mind a lot. Whilst I’m over the moon to finally be an author, it bothers me that my work comes at the cost of trees. Beautiful beings that have lived on this planet longer than I have are sacrificed for the literature we know and love. This bothers me more than I can put into words. 

My publisher, Chronos Publishing, thankfully, is very supportive of my concerns and has ensured that Earthlings, where possible, is to be printed on recycled paper. However, we were unable to get this secured with one distributor (Amazon) so I have recently launched the #ReadGreen campaign to hopefully encourage Amazon to offer sustainable printing options to the publishing industry.

You can support the Read Green campaign with a simple signature via www.change.org/read_green/ 

I have also pledged to plant 1 tree per book sale via Ecologi to combat any Amazon sales of my book, the Earthlings forest is available to view via my website.

  • What do you love about writing?

Everything. Writing to me, is as wonderous as magick. It is the ability to make your wildest dreams a reality. The ability to breathe life into beings, places and creatures that we dismiss as unbelievable. Pure escapism. If you’re a good enough writer. Anything is believable. If it harm none, so mote it be.

Love and light

Ray Star

@RayStarBooks

www.raystarbooks.com

Earthlings by Ray Star is out now by Chronos Publishing, £8.99

Anna Kent My Writing Process

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Anna Kent, author, writer, What you have written, past and present?

I was a journalist before I became an author, so I’ve written an awful lot of articles for publications in the UK and the UAE, and I was also a columnist for The Telegraph for six years and for Stylist Arabia for a year.

In terms of fiction, I have four psychological suspense novels out under my own name, Annabel Kantaria. They are Coming Home, The Disappearance, The One That Got Away and I Know You.

My fifth novel, called The House of Whispers under the pen name of Anna Kent, is due to be published on August 5.

I’m currently writing my sixth novel. It’s yet to get a title but I’m really excited about the premise!

What you are promoting now?

I’m promoting The House of Whispers by Anna Kent.

Tell us a bit about your process of writing?

I try to treat writing as I would an office job, so I have a strict routine: I put in about three or four solid hours in the morning, then I try to go to the gym or do an exercise class before lunch, then I fit in another hour or so of writing before it’s time to pick up my son from school. 

If I can, I’ll work again in the afternoon but it’s not always possible. I never work at night and I try not to work at the weekend, too.

In terms of the writing process, every book begins with the seed of an idea: sometimes it’s the ending, sometimes the twist, or, in the case of the book I’m currently working on, it was the inciting incident – the event that kicks off the whole story. I try and flesh this out, sketching out how the character will change throughout the story, and working out a plot that will carry that internal change and also allow room for a few duplicitous scenes, red herrings and twists.

I try to use a system where I write scenes on index cards and move them about but, generally, once I’ve got a foggy idea of the story in my head, I just want to start writing. It’s a mistake to start too soon, though, as I invariably then get stuck about 20,000 words in because I haven’t planned enough.

There’s always a point, about halfway or three quarters of the way into a manuscript that I lose faith and start to doubt myself. Writing is a solitary process and it can be a challenge to keep up both the momentum and the self-belief. You just have to push on through and trust the process. Having a good support network of friends and family really helps.

How do you do structure your books?

They’re all different. Most of them have multiple viewpoints because I love seeing events through different people’s eyes. 

In The House of Whispers, interviews with one of the characters are interlaced throughout the narrative, only you don’t know who is interviewing the person, nor why – you just know that something major has happened. The Disappearance started half-way through then tracked back, and it also had two timelines set about 50 years apart. I Know You was told with the benefit of hindsight, which allowed me to do a lot of foreshadowing to keep up the suspense, and The One That Got Away had alternate chapters from the points of view of a husband and wife. 

I do love a clever structure, but they can be very tricky to pull off.

What do you find hard about writing?

The hardest thing for me is trying to come up with that million-dollar best-selling idea: the high-concept story that becomes the most talked-about book of the year!

I also hate it when I get stuck in my plot. It happens at some point in every book, and I’m antsy and stressed until I get through that block and start writing properly again.

Other than that, just trying to be creative, day in, day out, with little or no feedback on how I’m doing, and no colleagues to bounce ideas off. Keeping faith in myself that I can do it. Not knowing if my book is any good or not until I submit it to my agent when it’s finished. That’s tough. 

What do you love about writing?

I love the creative freedom at the start of a new book, when the world really is your oyster. It’s like playing God. You have the power to create a whole world, and to populate it with whomever you like, and to make whatever you want happen to those people. There’s nothing like starting a fresh story. Even better if you know it’s a really fabulous idea! 

Days when the words flow and the story just comes flying out through my fingers are also fabulous. There’s no feeling like it.