Writing East Midlands Conference 2017

A bare blue sky, a carpet of daffodils and bright sunshine greeted visitors to this year's WEM conference. It took place in the beautiful Portland Building in Nottingham University's campus on Saturday 25th March 2017. Writing East Midlands is a charitable, not-for-profit organisation that promotes and supports writing and reading both locally and further afield. It runs programmes that help to improve writers' work, brings the writing community together, improves their skills and provides opportunities for professional writers to be paid for their work. This one-day conference gave local writers access to leading professionals from the industry. There were fifteen events, debates, workshops and seminars that ranged from The Role of the Writer in Times of Change, A Hero's Journey, Pitching to an Agent, Writing the Personal and many more. Later in this post I've written in more detail about the classes I attended.

The conference was hosted by journalist and East Midlands Today broadcaster, Geeta Pendse. She gave a warm welcome talk and introduced the lovely Alison Moore who was the keynote speaker of the day.

Geeta Pendse

Alison Moore's first novel, The Lighthouse, was shortlisted for the Man Booker Prize and the National Book Awards (New Writer of the Year), winning the McKitterick Prize. Alison gave a warm and personal talk about her road to success which included rejections and insecurities before entering competitions and slowly climbing the ladder of achievement.

Alison Moore

The first slot I attended was Writing for the Commercial Romance Market. The panel included, writer Judith Allnatt, who I've met several times before, Caroline Bell Foster and Tracy Bloom. Tracy defined romantic fiction as two people who love each other but there are barriers. She also said that there didn't have to be a happy ending which bought gasps of horror from the audience! She gave examples of successful romantic novels such as One Day and Me Before You that didn't include happy endings. We were asked to consider if our protagonist had earned her/his happy ending. Characters should evolve but be real, like Bridget Jones. Your reader wants to feel as if they are friends with your protagonist, making them care how your character's story unfolds.

Now to the important bit of a romantic novel - the hero! Caroline said that we should make our hero into someone we would be attracted to. I'm sure we all do this anyway, as it makes writing about him/her so much easier. We want to fall in love with our heroes and unlike the real world, we want thousands of other people to fall in love with them too!

A good tip was to write about what we'd like to read. It was also suggested that a protagonist should write a letter to the author in her/his own 'voice,' saying what they want, their likes and dislikes, their fears etc. From this letter, your main character's personality should arise.

Tracy Bloom, Caroline Bell Foster, Judith Allnatt

The second slot was entitled, The Role of the Writer in Times of Change. The panel were Nikesh Shukla, Kerry Young, Femi Oyebode and Henderson Mullin. Femi spoke about emotional truth and words being everything. Kerry said she didn't believe that writers had a role, but that we should write about what we care about: our passions, our values and messages we want to convey. She believes that writers do have a responsibility though. We should educate, amuse, challenge, entertain, encourage questions etc. Kerry gave an example about how times change and writers must change with them. The Archers began as a farmers' educational programme following rationing during wartime. It's evolved over time to become something very different.

Decades ago, Lady Chatterley's Lover was in court.

Today, Fifty Shades of Grey is in Asda!

Nikesh believes that the role of a writer is to answer questions that trouble people. We are social commentators. (I like that idea) He gave a passionate talk about the danger of accepting the single story. A story will be different seen by different eyes. Writers shouldn't be labelled as gay writers, black writers, Asian writers, white middle-class writers. I agree with him whole-heartedly and believe that we all come under the same banner - storytellers and communicators.

Nikesh Shukla, Kerry Young, Femi Oyebode, Henderson Mullin

Before lunch I spent twenty minutes talking with literary agent, Nelle Andrew from PFD agency, about one of my books. As well as discussing my writing, we included the wider topic of the publishing industry, fictional characters mixing with real world events and first chapter do's and don'ts, (to be included in another blog post).

We all had an hour for a networking lunch so I caught up with writers from Nottingham Writers' Studio, learned more about Mslexia from Debbie Taylor and chatted to the delightful Caroline Bell Foster. It was great to see Five Leaves Bookshop with a table full of diverse and exciting books which made it difficult to buy just one! After a walk in the glorious sunshine to take a few photographs, it was time for the afternoon sessions to begin.

I chose to go to Independent Presses: How Could They Work For You? for the third slot. On the panel were Teika Bellamy, (Mother's Milk Books) Debby Taylor (Mslexia) and Anne Holloway (Big White Shed). Teika shared her story about her independent press and how it benefits writers. She works very closely with her writers and happily dedicates a lot of time to creating a wonderful book with them. Anne explained how she had received very favourable comments and reviews about her writing but found it so difficult to secure traditional publishing. What better way than to create your own press...and that's what she did. I say huge congratulations to both of you.

The common thread that ran throughout the discussion was that the independent publisher generally has more time to dedicate to their writers. They have the freedom to publish diverse, exciting authors, whereas traditional publishers tend to specialise in certain genres. It was reassuring to hear that editors scrutinise work before publishing it, just as traditional publishers would do. They want each book to be the very best it can be. Here comes the caution - don't be tempted to go with vanity publishers. They ask you for money up front and the quality can be quite poor.
Debbie spoke about the diversity of Mslexia Magazine and the wonderful opportunities that can be found between the pages for its 24,000 readers. (Note: Their novel competition is now open!) Debbie has also worked with Françoise Harvey to create a wealth of information about independent publishes called, mslexia, Indie Presses 2016/17. It's a thoroughly researched book containing information on more than 400 independent literary presses in the UK and the Republic of Ireland.

Teika Bellamy, Anne Holloway, Debbie Taylor

Following a coffee break, my final choice of the day was Pitching To An Agent. Alex Davis chaired the panel, who included, Oli Munson, Julia Kingsford, Davinia Andrew-Lynch and Nelle Andrew. Questions were welcomed from the audience and I've included some here.

Question: Must a writer's manuscript be professionally critiqued before submitting to an agent?
Oli: If you have the resources, it's a good idea but if not, don't worry. Ask several people to read it first as a different eye picks up mistakes that have been over looked.

Question: What do you want to receive in a submission?
Oli: Every agent has a different criteria but the norm is a covering letter, a synopsis and three chapters.
Julia: Research your agents. Look at their list of clients and think whether your book will fit. Research which genres each agents request.

Question: What would you like someone to call you as in a covering letter?
*sniggers from the audience*
Nelle: By her name! Although she isn't too impressed when she receives letters beginning with, Dear Neil! Spell it correctly.

Question: How much do you like to get involved with changes in a book?
Oli: He would have a conversation with the writer first. He's aware that he's the editor and not the author. His suggestions don't have to be acted on every time.

Question: After agent representation, how important is public speaking at events?
Davinia: If an author is particularly uncomfortable with public speaking, she would personally find another way around the situation. Public speaking and reading helps to increase your public profile, but no one is forced into doing it.

Question: If a writer enjoys creating work in different genres, can they submit a range of work?
Oli: Submit your strongest work and submit that.
Nelle: Specialise in one particular genre to make it stronger, but enjoy working in as many as you wish.
Julia: If it's good, she'll look at it. She represents someone who writes fiction and non-fiction.

Question: Do you read every manuscript and do you prefer email or hard copies?
Davinia: No and email.
Nelle: No. If you can't write a letter, you can't write a manuscript. Email.
Oli: No, but always the letter. If his taste in fiction is different to the submission, he won't read on. Email.
Julia: She dives in and reads the first page before the covering letter. If it's good, she'll read the letter. Email.

After several more questions, the panel gave a final word on pitching. Here are some bullet points.
* Make it the best it can be.
* No typos.
* Be confident - but not arrogant.
* Have an assured and clear sense of voice.
* Don't be too personal.
* Don't use gimmicks to present your work. *puts clown outfit back in the cupboard*
* Don't use bribery. *puts chocolates back in the cupboard*

A covering letter should show how serious a writer is about writing. How have they developed their writing? What is the essence of their book? Do they have a clarity of vision? Mention some like-minded authors and what books are similar to yours? Who is your market? Why are you different and original?

Julia, Oli, Nelle, Davinia

"There is a certain amount of luck involved. A best seller is not destined to be a best seller. It's about the right people, the right time and the right place."

Nikesh Shukla gave the farewell keynote speech and storyteller, Shonaleigh, shared an extraordinary story that she'd created during the day.

Nikesh

Shonaleigh

Huge thanks to Writing East Midlands for another wonderfully inspiring conference - and as someone said on the day,

KEEP GOING. WE NEED YOU. WE NEED YOUR STORIES.

The Poet, John Clare

One of my favourite books is The Poet's Wife by local author, Judith Allnatt. Last year I attended a workshop which Judith held at my writing group and I was also one of a group which visited Helpston, John Clare's birth place. Judith accompanied us on our visit this summer as part of the annual Lowdham Book Fair. The Poet's Wife looks at life from John Clare's family's point of view. It's filled with beautiful descriptive narrative about the surrounding countryside and tells of the difficult struggles and love for her family, Clare's wife Patty had to cope with.

John Clare was born on 13th July 1793. He was the son of a farm labourer who became an English poet. As he worked on the land in his early years, he grew to love his surroundings and nature, celebrating this close bond with the countryside through his poetry.

Early Spring

The Spring is come, and Spring flowers coming too,
The crocus, patty kay, the rich hearts' ease;
The polyanthus peeps with blebs of dew,
And daisy flowers; the buds swell on the trees;
While oer the odd flowers swim grandfather bees
In the old homestead rests the cottage cow;
The dogs sit on their haunches near the pail,
The least one to the stranger growls 'bow wow,'
Then hurries to the door and cocks his tail,
To knaw the unfinished bone; the placid cow
Looks oer the gate; the thresher's lumping flail
Is all the noise the spring encounters now.

John Clare

My favourite book of poetry

As a child, John Clare worked as an agricultural labourer throughout the growing seasons. Despite limited schooling at Glinton School until he was twelve, he was an eager student and learned how to read and write. He became a pot washer at the local pub, The Bluebell. It was here that he fell in love with Mary Joyce, the daughter of a prosperous farmer. The farmer didn't believe that John was good enough for Mary and forbade him to meet her. Subsequently he became a gardener at Burleigh House, enlisted in the militia and worked as a lime burner in 1817.

Below is a photograph I took of the poet's thatched cottage. It was bought by the John Clare Education and Environment Trust in 2005. Inside is a small cafe which sells books and delicious home-made cakes. The rest of the house has been turned into a museum about Clare's life and works.

John Clare's cottage in Helpston

John Clare's poetry was inspired from his love of the English countryside. I think this is why I enjoy his work so much. If you've followed my blog, I occasionally include some poems I've written and more often than not, they include descriptions from nature.

To prevent his parents' eviction from their home, John offered his poems to a local bookseller who forwarded them on to John Keat's publishers, Taylor and Hessey. Taylor published Clare's first book of poetry entitled, Poems Descriptive of Rural Life and Scenery. in 1820. His book was hugely praised but his following books, 'Village Minstrel and Other Poems' and 'The Shepherd's Calender' didn't achieve the same success.

John Clare's cottage kitchen

In 1820, John married Martha (Patty). By 1823 he was nearly penniless as his subsequent books of poetry met with little success. His health began to suffer and he had bouts of severe depression. His last work, Rural Muse in 1832, achieved a little more success but not enough to support his wife and seven children. His behaviour became more erratic and in 1837, on the recommendation of his publishing friend, John Taylor, Clare went of his own volition to a private asylum in Epping Forest.

During his first few years here, John Clare's mental health deteriorated. He re-wrote famous poems and sonnets by Lord Byron and took credit for Shakeseare's plays, declaring, 'I'm John Clare now, but I was Byron and Shakespeare formally.'

He was a short man, standing no taller than five foot. I am five foot six inches and this life-sized statue tells its own story! His slight stature was likely due to malnutrition stemming from childhood which led to poor health in later life.

Life-size statue of John Clare

In 1841, John Clare absconded from the asylum in Essex and walked eighty miles home. His mind was unstable as he still believed he was married to both his unrequited love, Mary Joyce and his wife Patty. Mary Joyce had actually died years earlier in a house fire and had never been aware of Clare's feelings for her.

John Clare found his way home and lived with Patty for the next five months until his behaviour deteriorated sufficiently for her to call in the doctors. Clare was committed to Northampton General Lunatic Asylum (now St. Andrew's). He remained there for the rest of his life, until his death in 1864. His remains were returned to Helpston for burial in St Botolph's church yard. Judith Allnatt read some of his poetry in the cool echoing church whilst the sun shone brightly outside upon John Clare's tomb stone. It was a memorable and atmospheric half hour. Even to this day, school children from the village where he is buried, annually lay flowers at his graveside in remembrance.

John Clare's grave stone

A Writer's Workshop

Drawn by Pyon_Pattebayo


Judith Allnatt, author of A Mile Of River and The Poet’s Wife, visited Nottingham Writers’ Club to host a workshop. I'd read and loved her books, so I was looking forward to her visit.

After introductions, Judith started the session with an ideas generator. She suggested writing a list of different characters, locations and objects. By choosing one of these at random from each list, a basis for an idea will appear. Another suggestion was to pick an arbitrary word from the dictionary. Just open the dictionary and point!

As a warm up for the grey matter, Judith suggested describing someone you know in terms of a piece of music, a colour or an animal.
The group moved on to flow writing. We wrote for ten minutes without stopping to think. We scribbled down anything that came into our head without crossing out or editing. Quite a feat, even for ten minutes! After the allotted time, we read over our paragraphs and underlined ideas, phrases and words which we found interesting and could use in the future.

Next we concentrated on mind-mapping and clustering. We chose a word which we wrote in the middle of the page. Using lines (like a child’s drawing of the sun) we wrote words which were connected in some way. For example we chose the word, tower. From that word we mapped over thirty more, including vantage point, Pisa, inferno, suicide, vertigo, sniper, injury, hair. Mind mapping helps the writer to dig deeper and find a new view point.

Judith explained that a writer needs to have a two-sided approach to their work. They need to be spontaneous and creative, but also be a ruthless analyst and editor. The pitfalls are that the writer can become too flippant or censor too harshly. There is a fine balancing act we writers must find.

For our next writing challenge, we all chose a post card from a selection which Judith had brought with her. We had to study it and make notes on what struck us about the picture. The mood, the atmosphere, the colour and textures. We imagined what sounds were present and what was unfolding beyond the boundaries of our picture. Moving on, we conjured up ideas of what had happened before and after the event we were looking at. This exercise was extremely helpful in developing a story with depth and vision.

I find workshops invaluable for picking up new ideas from established writers. I also find it heart-warming that published authors are happy to selflessly share their knowledge with new writers.

I'd love to hear from any writers, publishers or agents who'd like to visit us at Nottingham Writers' Club to talk about their expertise and work lives. We're always delighted to welcome new speakers and learn from their experiences.