I am so happy to introduce you all to Cathie on this month’s Frost. She is responsible for taking me under her wing at my very first RNA conference and was one of the very first people to ever read my work and encourage me to keep going. She is part of the Creative Writing Matters team who support writers in so many ways; mentorship, teaching, handbooks and the running of renowned competitions such as The Exeter Novel Prize.

Does creative writing matter? Yes, a great deal to us.  Margaret James and Sophie Duffy and I have been working together for nearly a decade now. As teachers of creative writing, and because a student’s success is as thrilling as one’s own – well, nearly – we encourage our students in any way we can.

What did they want in a textbook? What would really be useful for them? Would our experience as competition judges as well as teachers be of help? Margaret and I spent a year consulting them before we published The Creative Writing Student’s Handbook.

A dream for most novice writers, is that they should do well in a short story competition. I was thrilled when the first story I sent out bounded into a shortlist. What joy! More successes followed, but then, so did no listing at all. I soon discovered that just because it may not have done well in one competition, doesn’t mean to say it won’t succeed elsewhere. How many entries, who is judging, and whether there’s a strong entry or particular subject that resonates with the judge(s), all are factors.

During my years as a music teacher I was often charged with putting pupils through exams, and my sympathetic cup ran over on many occasions when I saw the terror with which many faced such trauma. But my goodness though, didn’t they all try harder when the exam loomed. Most got exponentially better!

On the back of my experience, I had the notion to hold a tiny competition in a creative writing class. The result was the same. Suddenly, all those last minutes unedited stories were tidied up. They took notice of the word count, the spelling and grammar, and familiar topics were rethought. I was surprised and delighted. Unlike music exams or driving tests though, entering a writing competition it isn’t a do or die situation. Okay, a particular judge may prefer another story, but it is possible to give of your best by crafting your story days or weeks previously.

Sophie won both the Yeovil Novel Prize and the Luke Bitmead Award, the latter leading to the publication of The Generation Game. Margaret was shortlisted for the RNA Romantic Comedy Award with The Wedding Diary, and for many years, had been the administrator for the Harry Bowling Prize. My short stories were being regularly listed and my debut novel, Secret of the Song was shortlisted for the Hall and Woodhouse Dorchester Literary Festival prize. Competitions were something we knew about. It wasn’t long before we realised that our fair city of Exeter was missing something – a novel prize. Seven years on, we can celebrate the publishing success of many fantastic writers who either won or were listed.

One of the lovely things about being a competition judge is being continually amazed by the extent of the human imagination. The sheer variety of subject matter that people choose to write about is extraordinary, but weird doesn’t necessarily triumph over the ordinary. The ability to move, surprise, make us laugh and/or cry will raise a story above the rest, but how or why isn’t easy to quantify.  Difficult choices have to be made. Sometimes there is a stand-out winner, but not often. Obviously, it’s nice to do well, but any listing is significant. A good record of success, at whatever level, shows commitment as well as quality.

Cathie Hartigan is a musician, novelist, and the founder of www.creativewritingmatters.co.uk and the creative director of www.exelitfest.com. Her second novel, Notes from the Lost will be published in October.