Best Endeavours Critical Endeavours: Jane Cable on what happens once you get that publishing deal continues

Jane Cable, publishing, writing
BEST ENDEAVOURS

Jane Cable’s blog about what happens once that digital publishing deal is in the bag continues.

CRITICAL ENDEAVOUR

A few weeks ago I mentioned I’d visited a book club who’d been reading The Cheesemaker’s House. Now I love being invited to book clubs because they’re a great opportunity to meet readers and talk about books – mine and other people’s – for ten minutes before the wine starts flowing anyway. But this time we talked about books most of the night.

This club was the one my friend Becky belongs to and was held in the familiar surroundings of her kitchen. The amount of food (everybody brought a plate) and the number of women squeezed onto and around her table had to be seen to be believed. By the time the late arrivals fought past the chairs nearest the back door it was difficult to see any part of the floor at all.

The lovely woman sitting next to me told me the club had started in January 2000 when their children were small and she showed me a list of every book they’d read. The fact mine was on the list at all was entirely due to Becky’s enthusiasm and I felt very humble – and suddenly really worried I was going to let her down.

best-endeavours-critical-endeavour-jane-cables-blog-on-what-happens-once-you-get-that-publishing-deal-continues

In fact it was a wonderful discussion. Most people had enjoyed the book but it had clearly been read with a critical eye as well and there were a few points of contention. There is one scene where a rather drunken suitor goes a bit too far with Alice after a party: did it border on sexual assault, or was it just the sort of thing most women have had to contend with at some time or other? Some had noticed there was perhaps an element of possession (in the ghostly sense) involved, so did that make it all right?

Favourite characters is also a great topic for debate and is a question I’m always asked. Because the book is written entirely from Alice’s point of view I obviously became very close to her so it was really interesting for me that Becky wasn’t very keen. What I did love was the way that people related to my secondary characters; Adam, the gay (but in no way camp) best friend and Margaret, the sage but lively elderly neighbour. When I first started writing I was told that my minor characters were like cardboard cut outs so it always pleases me when the care and attention I give to them now shines through.

We also talked long and hard about charmers. The main love interest in the book, Owen, is known as the village charmer (although he denies it) and before the story starts I give the following explanation:

‘Charmers work largely with non-herbal cures for complaints. Secrecy surrounds their work, which must not be done for gain, and while men or women may be charmers, the gift must be passed contra-sexually, man to woman or woman to man; charmers often receive their powers and word charms from old persons anxious to pass their skills to a worthy successor.’

The concept is a fascinating one and we fell to talking about whether such people exist today. My researches seemed to indicate they died out in the West Country in the 1950s but one member of the group knew different: her husband (who is French) had been given a charm by an elderly lady from his home village just before she died. Her story sent shivers down my spine. There’s nothing better than finding an extra kernel of truth in your fiction.

Read Frost’s review of The Cheesemaker’s House here: https://www.frostmagazine.com/2013/12/the-cheesemakers-house-book-review/

Jane Cable is the author of two independently published romantic suspense novels, The Cheesemaker’s House and The Faerie Tree, and a sporadic contributor to Frost. Another You tells the tale of how two young American soldiers born sixty years apart help forty-something Marie Johnson to rebuild her shattered confidence and find new love. Discover more at www.janecable.com

BEST ENDEAVOURS: Best Welcome. Jane Cable’s blog about what happens once that digital publishing deal is in the bag continues.

Jane Cable, publishing, writingBEST ENDEAVOURS
 
Jane Cable’s blog about what happens once that digital publishing deal is in the bag continues.
 
BEST WELCOME
 
For those of you who are really paying attention and haven’t yet lost the will to live with my burblings, last week I mentioned that one of the tasks on my list was to get to grips with my shiny new membership of the Romantic Novelists’ Association. I had, of course, been aware of the organisation for years and joining was one of the first things that Agent Felicity advised me to do but I needed publishing contract to be admitted to their hallowed halls as a full member. 
As soon as I had the contract I filled in the application form and sent off my cheque. In due course a membership pack thudded through my letterbox (not its fault – everything thuds onto the chunk of slate behind our front door) and I eagerly scrambled my way through the papers to find out all the ways I could fully engage with the association.
So I fired off some emails; to the website co-ordinator, the libraries’ liaison officer, the named contacts for the Cornish and South chapters (having feet in more than one geographical camp). And with some trepidation sent another cheque for the winter party. In London. With crowds of people. People I didn’t know. Gulp.
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Very soon my inbox was filled with emails welcoming me to the RNA, and before long I was sharing online conversations and writing experiences with authors I knew only from their Amazon profiles. The genuine warmth left me feeling as though I was snuggling into a very large and fluffy (in a not remotely Barbara Cartland way) blanket and joining a group of writers who believe in co-operation because they know it works. And, well, because they’re positive, interested, interesting and overall friendly folk. 
The emails gave me the courage I needed to venture towards Twitter with the #TuesNews hashtag and @RNATweets handle. Nervously I tweeted about a lovely review I’d received for The Cheesemaker’s House. Within minutes the retweets had started and within hours reached a level I had previously only dreamt of. New follows and followers, my online network expanded in directions which are perfect for me. And what’s more I will actually meet some of these lovely people; both in London next month and at the chapter meetings in Cornwall and in Southampton.
Throughout my business life I’ve believed in the value of networking and although it sounds sexist I also think women understand the process of giving your time and energy to virtual strangers better than men. Not all RNA members are women by a long chalk, but most of us are, because that’s the way the cookie crumbles in the writing world. 
There’s also something about the genre of romance itself; those who write it, write about people. So we’re interested in people. We like people. And that attitude shines from the RNA like no other organisation I’ve ever had the privilege to belong to.
 
Jane Cable is the author of two independently published romantic suspense novels, The Cheesemaker’s House and The Faerie Tree, and a sporadic contributor to Frost. The Seahorse Summer tells the tale of how two American soldiers born sixty years apart help forty-something Marie Johnson to rebuild her shattered confidence and find new love. Discover more at www.janecable.com.

Best Endeavours Technical Best: Jane Cable On What Happens After You Sign That Digital Publishing Contract

Jane Cable, publishing, writingBEST ENDEAVOURS

Jane Cable’s blog about what happens once that digital publishing deal is in the bag continues.

TECHNICAL BEST

I feel as though I know every word of The Seahorse Summer off by heart. And that can’t be a good thing. My real battle with editing over a short period of time is coming to the manuscript fresh and able to concentrate on what’s actually on the page, not what I think is there.

It’s just as well I’m on the last lap now, the technical points which are often overlooked. None of them rocket science but mistakes which are all too easy to make and not so simple to spot: a ‘by’ for a ‘my’; a missing indefinite article; and the multiple perils (for me at least) of punctuating dialogue. Yes, I could leave that to the proof reader but I’d like to submit a manuscript which is as perfect as possible.

I have another task for this week too. Quite some months ago I was asked to judge the Autumn Writing competition for one of the better writing groups. The subject matter – A Ghost Story – poetry or prose – and now the entries are sitting in my inbox. To be honest they will be a welcome distraction.

Best Endeavours Technical Best: Jane Cable On What Happens After You Sign That Digital Publishing Contract writing, amwriting, publishing

Most helpfully the group’s website gives a critique guide which can double as a framework when editing your own manuscript and for anyone embarking on the process I thought it would be useful to summarise:

Plot
Is the plot believable? Is it too fast or too slow? Too simple or too complex?

Characters
Too many characters or too few? Are they real people, or flat cutouts? Is it easy to confuse one with another?

Setting
Too many locations or too few? Too much description or too little?

Dialogue
Too much or too little? Do the characters have different voices? Are their words believable?

Viewpoint
Do we stay in one viewpoint, or change? Does the chosen viewpoint work?

Ending
Is the ending too sudden or too slow? Does it follow logically from the story? Does it leave the reader satisfied?

Technical Points
Are there errors in grammar, spelling, layout or punctuation? Are there factual mistakes?

Having some sort of structure helps you to step back from your own work and see it more as others do. Not an easy task, by any means, but an essential part of the writing process. If you don’t belong to a writers’ group you may well have completed your manuscript in glorious isolation. If you aren’t against a deadline, put it down for a few weeks, read something else, get out into the real world for a while so you come back to it fresh.

At the very least, pick up a few ghost stories and settle down with a cup of tea to enjoy them.

Jane Cable is the author of two independently published romantic suspense novels, The Cheesemaker’s House and The Faerie Tree, and a sporadic contributor to Frost. The Seahorse Summer tells the tale of how two American soldiers born sixty years apart help forty-something Marie Johnson to rebuild her shattered confidence and find new love. Discover more at www.janecable.com.

 

 

BEST ENDEAVOURS: Jane Cable’s blog about what happens once that digital publishing deal is in the bag continues

BEST ENDEAVOURS: Jane Cable’s blog about what happens once that digital publishing deal is in the bag continues , writing, getting published, am writing
BEST LAID PLANS

The email came on Monday, via Agent Felicity, with the impeccable timing only achieved by a communication containing deadlines which arrives at the beginning of a holiday. And not a plenty-of-time, relaxing-on-the-beach sort of holiday – a full on archaeological tour of Orkney, with just about every waking hour accounted for.

It was a holiday we’d been looking forward to for over a year: a small group led by a real live archaeologist (a dead, or even half dead one would have been of limited use) around the amazing array of Orkney’s historical sites (see www.orkneyarchaeologytours.co.uk). In just six days we travelled from the Neolithic to World War 2 and back again. Via the ephemeral Picts and the rather more visceral Vikings. We crawled into Stone Age tombs and gazed in wonder at homes lived in 4,500 years ago at Skara Brae. The novelist in me was bitterly disappointed to find the story of the Italian PoWs who built a beautiful chapel from scrap had already been fictionalised, while at the same time storing away nuggets about life as an archaeologist for my current work in progress.

But I digress. The email forwarded to me was from my publisher, Endeavour Press, with an outline timetable for the production phase of The Seahorse Summer: finish the manuscript over the next few weeks, then four to six weeks later they would send me proofs and edit notes. Together? I consulted a writer friend who is published by a rival digital house and yes, that’s the way things are done. Proofs are not final proofs; she received five sets in all and great emphasis was placed on getting things right.

So what I need to get right now is my manuscript. I am delighted to be left to my own devices to do this but at the same time I just know that the “two days’ work” suggested by Endeavour at the pre-contract stage will take me so much longer. Readers are going to part with hard earned cash to buy my book (I hope!) so I owe it to them to make it as perfect as possible.
I guess every writer has their own method of editing. The Seahorse Summer, as a story, is complete. The characters are fully formed but the words aren’t as polished as I’d like them to be. So that’s the first thing I’ll do. Trusty filofax in hand I pencil in Monday and Tuesday next week for this vital task.

Please understand that I am not a full time writer – I also have a business to run. Thankfully my husband (when he gets over his post holiday grump) will be on hand to help, but even so on Wednesday I need to be at a client to deal with their month end – and on Thursday I need to deal with our own. And catch up on all the little tasks that didn’t get done while we were away.

Once these jobs are complete I can return to my editing. Next I’ll work through the manuscript from the point of view of each character, making sure their stories progress logically and their external and internal journeys are sound. For this I’ve booked in five to six days over the next fortnight – each one diarised in between client commitments, training courses, a hair cut and what will doubtless be a much needed massage.

The final read through I’m leaving until I have a clear week later in the month. I can deal with all the loose ends I’ve unearthed (why did the strange rumbling and roaring Marie hears disappear?) and make sure every word is where it should be. All 80,000 of them. And that’s where my meticulous planning should all pay off.

Jane Cable is the author of two independently published romantic suspense novels, The Cheesemaker’s House and The Faerie Tree, and a sporadic contributor to Frost. The Seahorse Summer tells the tale of how two American soldiers born sixty years apart help forty-something Marie Johnson to rebuild her shattered confidence and find new love.

Discover more at www.janecable.com

Writing Short Stories for Magazines

Short Story Magazines

The Most Important Thing You Need to Know

 

There isn’t a secret recipe to success so it’s no use looking for the answer here.  If you want to write short stories and sell them there is one thing you need to do before you even begin to write your story. Market Research. You can’t write a story and send it off willy nilly. You may sell one or two that way, if you are extremely lucky, but for continuous success you need to know your reader.

I’d advise selecting one or two magazines that publish short stories. Those accepting them at the moment are, among others, Woman’s Weekly, Take A Break, Fiction Feast, The People’s Friend and Yours. You can find a full list of markets at www.womagwriter.blogspot.co.uk

Read through all of the stories in your chosen magazine and find something that resonates with you, those that might be similar to stories you would choose to write. Most importantly, read them with respect. Don’t sneer and pass judgement. It’s a hard market to crack and if you disrespect your reader your writing will come across as patronising. Guess what? No sale.

Get a pen and paper and make notes. What are the characters names, what ages? Where do they work?  Where are the stories set? What are they about – family, romance, comedy, thriller? Each market has its subtleties and you need to make yourself familiar with them if you are to have any hope of success.

What is the word count? Each magazine has set limits. It’s no good sending a 700 word story  to Woman’s Weekly when they only take 1,000 or 2,000 words. It will come straight back to you.

Now read the entire magazine, the articles, the readers’ letters, the adverts, the problem pages. You can learn so much about the readership by doing this and then you will be able to build a picture of your ideal reader. Do it as an exercise. Imagine a woman buying that magazine – what does she look like? What job does she have? Where does she live? Before you know it you will have a character; you may even have a story – get writing.

Editors are busy people. Make things easy for them. Present your work as per their guidelines, found on their website. If you are unsure how to set things out pop over to writer Sue Moorcroft’s website because she has the best example I’ve seen on how to present a professional manuscript. It will save you so much time and effort  www.suemoorcroft.wordpress.com/manuscript-presentation

 

I’ll be talking at Words for the Wounded Literary Festival on 16th April and will be happy to chat about writing short stories for the commercial market throughout the day.

 

Tracy Baines’ stories have appeared in Woman’s Weekly, Best, Take a Break, The People’s Friend, Candis, My Weekly, Yours in the UK – and magazines in Scandinavia, Australia and South Africa. She has completed a book on Eating Disorders and is now working on a novel.

Frost Interview | Novelist Hannah Fielding

We were very excited to interview The Echoes of Love: A Story of Secrets, Tragedy and Haunting Love in Venice
author Hannah Fielding. Hannah is a great writer and is very well travelled. Read on for her thoughts on her novel, getting published, her writing routine and her favourite places. Portrait of Hannah Fielding and photos of where she writes.

Tell us about your novel

Seduction, passion and the chance for new love is at the heart of The Echoes of Love.

Set in the romantic and mysterious city of Venice, the beautiful landscape of Tuscany and the wild maquis of Sardinia, The Echoes of Love is a touching love story that unfolds at the turn of the new millennium.

What is your writing routine?

I have a very rigid routine which has served me well. Having researched my facts thoroughly, I plan my novel down to the smallest detail. Planning ahead, I have found, makes the writing so much easier and therefore so much more enjoyable. Then, when I am ready to begin writing, I settle into a regular routine – writing each morning andediting the previous day’s work, taking a break for lunch, writing a little more and then going for a walk somewhere inspirational, like the woods or the beach.

How hard was it to get published?

This only gets more difficult. As readers move from paperback to ebooks, publishers are developing new business models and nothing stays the same. My new publisher resulted from the very positive reception of my first book, Burning Embers, which was published by Omnific in the USA. Working with a London publisher and a younger team is very different, but just as enjoyable.

Why did you choose Venice as a setting for your novel?

I first visited Venice as a young child. Then, as now, I was wide-eyed and enchanted by the beauty of the city. I distinctly remember standing in the main square, the Piazza St Marco, gazing up at the stunning architecture of Saint Mark’s Basilica, and feeling I had somehow entered another world – a fairytale world. Then I looked down, at the square itself, which was overrun by hordes of pigeons. There was nothing beautiful about those birds. They were quite spoiling the place. And it struck me then that Venice is a city of two faces: that which the tourists flock to admire, that makes the city the capital of romance, that breathes new life into the imagination and leaves a permanent, inspirational impression. And the other side, the darker side, that which is concealed in what Erica Jong called ‘the city of mirrors, the city of mirages’.

When I returned to the city as an adult, I became quite fascinated by the concept of Venice – what it means to be Venetian; what the city really is beneath the layers of history and grandeur and legend. Frida Giannini wrote, ‘Venice never quite seemsreal, but rather an ornate film set suspended on the water.’ I understand this quote – there is something fairytale about the place, and with that comes some reluctance, perhaps, to see the realism beyond.

Venice so captured my imagination that I knew some day I would write a romance novel set in this most elegant and fascinating of cities. But it had to be the right story to fit the place. For me, that meant a story that reflected the two faces of Venice – the mask she wears, and the true form beneath.

Tell us about your characters

Venetia Aston-Montagu is a young architect in her mid-twenties who has already suffered heartbreak and loss. Brought up by a despotic father and a weak mother who always deferred to her husband, she can’t wait to leave home and work in Venicein her Italian godmother’s architectural practice. Her past experience has left her reserved and wary of men, but deep down she is a romantic who dreams of meeting the man of her dreams.

Paolo Barone is a millionaire Italian entrepreneur in his mid-thirties who has also had his share of suffering, which makes him at times taciturn. The affinity he feels for Venetia is instant. To start off with, like Venetia, he is afraid of the power of the emotions. Still, Paolo’s past and present are filled with secrets that he jealously keeps locked up in his heart, even from Venetia.

Is Venice the most romantic city?

Italy, for me, is the most romantic country in the world, and Venice is the best of its many ancient and beautiful cities. That is why time and again it tops the polls as the most romantic city in the world.

There are so many reasons I can give for this: the stunning architecture, the sense of history all around, the romantic music, the sublime cuisine, the colours of the buildings and their reflections in the water, the Casanova connection, the passionate

Venetians and their beautiful language, the dreamy drift of the lagoon, the blend of hubbub and calming serenity, the exciting Carnival, the gondolas that bear you around the city in such a timeless, gliding fashion…

You were born in Egypt and have travelled a lot. Where are your favourite

places?

1. Aswan, Egypt

One my favourite places in the world is the Old Cataract Hotel in Aswan in southern

Egypt. Built on a granite promontory in the Nubian Desert on the banks of the Nile,

the dark pink edifice, in the style of Belle Époque villas of the 19th century, has

retained all the beauty and splendour of yester-years.

 

2. The Rift Valley, Kenya

I set my debut novel, Burning Embers, in Kenya because after visiting the country

as a young woman I was captivated by the scenery and the people. The Rift Valley,

in particular, took my breath away, and I could not resist writing a balloon ride into

Burning Embers to allow my heroine, Coral, to take in the magnificent landscape.

 

3. St Paul de Vence

A beautiful hilltop village in Provence, and one of the oldest – founded in the ninth

century. It is known as Le Bijou de la Côte d’Azur (The Jewel of the Côte d’Azur).

The French painter Marc Chagaechoesoflovehannahfieldingll made the village his home for 20 years, and here he

painted wonderfully warm pictures that pay homage to love, some of which can be

viewed at La Fondation Maeght , 623 Chemin des Gardettes.

Your first novel was published last year. Was this one harder to write?

Yes. Because Burning Embers had such a good response, I found The Echoes of

Love a much more challenging experience because I wanted to live up to my readers’ expectations.

 

What next?

I have written a trilogy set in Andalucía, Spain, spanning three generations of a

Spanish/English family, from 1950 to the present day.

Greece is also on the map for a new Hannah Fielding romance novel. I am now in the process of researching and planning a very dramatic love story that takes place on one of the many Greek Islands. I chose Greece because I know that captivating country and its people well – I have good Greek friends. I bought my wedding dress in Athens and my husband and I honeymooned on Rhodes Island. Greek mythology was part of the literature course I read at university and Greece is not far from Alexandria, where I grew up.