Uncommon Women and Mountain Day

Yesterday was Mountain Day at my Alma Mater - Mt. Holyoke College (for UK readers this is a university not sixth form college). This is a wonderful tradition where the bells are rung and there are no classes - you are to seize the day. Unfortunately for me yesterday I couldn't down tools and go climb Mt. Holyoke itself, but I did remember doing that on a glorious Fall day with the trees not quite in their full autumnal glory. I can almost remember the smell of the dry ground and leaves crunching under foot....we won't talk about being out of breath and wondering why I was so unfit........

That Mountain Day fell so closely on the heals of a wonderful alumnea event held at St. Anne's College Oxford was rather nice. Although I was unable to attend the whole weekend symposium - Brain Power: Build It, Use It, Keep It I was able to join for Saturday evening which included a special session, Wobble, Warbles and Fish: the brain basis for dyslexia, given by John Stein, professor of Neuro-Physiology at Oxford and chairmen of the Dyslexia Research Trust. Fate smiled on me as I arrived at the same time as the professor and we made our way together to the lecture hall. I confessed to him that he was the reason I had left DD on her first exeat from boarding school to hear him speak. I explained that DS1 is severely dyslexic which wasn't surprising as both DH and I were. He said he needed families like ours as they continued to research the genetic link.

At the beginning of the lecture the reason he looked so familiar to me became clear - he is Rick Stein's (for non UK reader's Rick Stein is one of the UK's great chef and is based in Cornwall and is known for his fantastic fish recipes - I have two of his fish cookbooks on my shelves in Cornwall)brother which was not the reason for the fish in the title of his talk but could easily have been - it was fish oil.

His talk was amazing for me as everything fitted not only for DS1 but for me. I will not try and sum it up at this stage. I want to take some time to google his work and see if I can find links and explore the connection to dyslexia with writers in particular. I have to confess to being at times so full emotion during the lecture that I was too overwhelmed to take my normal copious notes - that and the words were far too long for my dyslexia too cope with quickly!

Now having left the US in 1989 and traveled a very different path to one I had ever could have dreamt while sitting inside Mt. Holyoke's ivy covered walls I have had very little to with my Alma Mater since I went to my tenth reunion - I think I was living in Calgary at that time. My twenty-fifth is arriving in May and I keep thinking that I am only twenty-eight so how can this be????

So sitting down to dinner at St. Anne's College brought so many memories back (first of my time spent not far away at Trinity College) but of what an exciting and empowering group of women (Mt Holyoke is an all women's college). I heard a phrase that I hadn't heard in years - Uncommon Women and as I looked around around I realized I too was one of them. Mt Holyoke pushed and challenged me in ways I never imaged at the time. It made me realize that all things were possible if I gave them my all. The best gift that it gave me was my first academic failure - up to that point I had cruised through my academic life without much effort, but thankfully one professor pulled me up short and brought me task. This taught me how to truly learn a skill - you need to work, work, and rework until you have it right - first time isn't always best. Boy is that important in writing fiction!

Now nearly 25 year years on and I realize that it has given me much more. During my years there, the sense of being uncommon sinks through your skin without you realizing it and it drives you. It makes you realize that you can make a difference in the world whether it is one life or hundreds that you help.

I looked around the hall at the alums and sensed the power of the call. For some it had been quiet change and others huge. I looked across the table at two young alums, '07 , one now doing her PhD at Cambridge and the other at St. Anne's, who had the world before them. I could feel their excitement and found that same emotion still lingered in my heart.

I think the most interesting change I noted was in the speach given by the current president Joanne Creighton - she spoke of the college's diversity and the need to continue the growth of diversity. Back twenty-five years ago the call was still for equality....How the world changes (in some ways - yet in some parts of the world I have lived equality is still desperately needed).........

So after such a long and wandering post, I wonder what your schools have given you. Aside from a package of academic learning what did you take away from your formal education?

Busy, Busy, Busy

I feel so bad that I haven't blogged in ages - not really like me, but it has been for very good reasons. Since I last appeared I have been to Dubai and back, attended two publishing/writing related events, written about 4k on PENDEROWN, and managed to catch up briefly with DH!

First, as you know I was worrying about DD going away to school...well, she loves it - which is a huge relief. It doesn't mean that we aren't both at times falling all over ourselves in misery missing each other but she is happy!

Now the How to Get Published conference at Kingston Uni was great. Unfortunately I have left my notes back in Dubai so you will have to wait for the details but it was soooo worth changing my flights to attend.

The past few days I have been tucked away in ancient manor in Oxfordshire (somes like one of my books!) on Cornerstone's Workshop on Women' s Fiction. Magic. You know when you have reached something of an impasse and you can't see the forrest for the trees, well I was there.

Since 2004 I have learnt so much. I have moved from being able to write a complete book to being able to write a pretty good book. I have been told I am so close - but just couldn't see how the hell to take my writing to the next level. I am one of those people who has to 'see' how - if that make sense. Maybe it's my dyslexia but I need concrete examples of where I have missed the mark. Once I can actually 'see' the error then I can learn to fix it and find the rest them in the script or at least that is what I have been able to do in the past.

I had hoped that this workshop might help me on my way. In fact i had high hopes because the person teaching this workshop was Julie Cohen. I know Julie from the RNA, love her books and have been lucky enough to have attended one of her workshops on Pacing at a conference. So I knew that at the start the teacher could write (that is an understatement) and possibly more important that she was a gifted teacher - these things do not always go hand in hand.

So let's just say I wasn't disappointed. I knew before I began where I perseceived my weeknesses and I wasn't wrong, but I didn't quite have it all and I certainly was stumped how to fix it...During the workshop I was put through exercises on my own work and others on the course which helped me to 'see'. I learnt different ways of approaching my totally organic process of plotting and conflict which should improved it, tighten it, or even sometimes find it!

In the past Julie has gifted me with many lightbulb moments and I wasn't disappointed in anyway. It was a wonder I wasn't blinded by the flashes. Now I need to cement these tools into my brain, if possible, so that they become more a part of my natural writing process, which I know will take time...

The other part of the workshop was a chance to learn more about the 'business' end. Helen Corner provided this side. She armed us with the tools to help break through. The pratical nuts and bolts of submission prep and approaching agents. There also a chance to question her indivually about specific concerns - worth it's weight in gold.

On the second evening the wonderful agent, Broo Doherty joined us for dinner and q & a. Opportunites to pick an agent's mind don't come much better than this. She was funny, honest, realistic (her agency of 2 agents receives 5000 submissions a year!), and generous with her answers.

The other bonus of the workshop was the other attendees. Being with other writers is brilliant. This talented group contained women in different parts of the writer's journey were tremendously supportive and helpful. They were inspiring and fun. It was great to spend the time with them. I have gained so much from them that they will never know. I hope they came out of the workshop ready to tackle their own persona challenges.

So I am pumped. The end of PENDEROWN is insight. PILGRIMAGE is bubbly in my head and after my one-on-one with Julie (not sure I like you any more!!!) I have decisions to make (May talk about this more later when i have had time to chew things through).

Between the two writing events though I have come away with three key things that I will share as they are not specific to me or either event:

1. Know your reader
2. Be professional in every way
3. Don't rush and ruin the chance your have by submitting to soon

Finally Anita Burgh has a wonderful post on GUILT on her blog and from that blog I am not called myself a YUP!

Fallen Off The Face of The Earth

I have been very quiet and not without good reason. Life has been crazy. Since my last post DS1 has had his GCSE results - which were excellent, truly. He is now back at school and radio silence has ensued which I know means all is well. However I am left bereft having enjoyed his company all summer. Tomorrow DS2 returns to school. He has grown another inch and is now the tallest in the family. He doesn't want to return but accepts the inevitability of it with his normal grace. On Wednesday DD leaves home for boarding school for the first time. I am trying to be brave. I really am. I know it is right for her but it is hell for me. Of course she doesn't see this and mustn't see this. She is full of fear and self loathing at the moment which worries me. The self loathing was there and has nothing to do with school but with her own inner perfectionism. Having struggled with that all my life I wish there was some way I could help her through - other than love her and talk to her. Anyway enough of my family stuff.

I have lots of exciting things on the agenda coming up. First I postponed my return to Dubai to fit in Alison Baverstock's getting published workshop at Kingston University. It's a great line up and to make even better I am staying with fellow writer Biddy. I return briefly to Dubai then I'm back in the UK for the Eid holiday and seeing the kids - one weekend each which left me with time to take Cornerstone's course 'Writing Commercial Women's Fiction' taught by the wonderful Julie Cohen. I know she is a fabulous teacher and has so many times gifted me with light bulb moments.

I am hoping between the two it will fire my enthusiasm and help me chart my way onto the next level of writing. I have received my NWS report back - quick I know. So quick my clever plan to have it sent to sil in London so it wouldn't wallow away lonely in Cornwall went awry. It was an excellent report - not in the sense that it was filled with glowing praise, but in the sense that it was filled with concrete advice to lift the level of my writing. Never an easy pill to swallow, but just the medicine I need at this point. No, it wasn't negative at all. The reader said lots of lovely things, but read the script with a careful eye and pointed out where I needed to strengthen the book and my writing in general.

So that leads to what to do next. I need to complete the first draft of Penderown, I need to polish the revised August Rock. I need to complete another rewrite of A Cornish House and finally I have another book bashing the walls of my brain waiting to escape onto a page.

I know ACH needs a break so that is easy to let rest. I have just another ten or twenty thousand words to finish Penderown. August Rock will be a major project, but one I am looking forward to. I think the new book can be contained in my brain until the New Year. So beginning Thursday I will pick up Penderown again (try and remember what the hell was happening without going back to read because I would never move forward). Once the draft is complete I will work on August Rock. I want to have that done and dusted by Christmas so I can let the Pilgrimage out of my brain. Once that is complete I will then move back to ACH. All this sounds set in stone, but of course nothing is. It means that I will have nothing in the market which may not be a good idea. However I think as the trilogy of AR, ACH and Penderown begins with AR this should be the lead book.

I hope to be blogging on a more regular basis soon. In the mean time there is a great post on research and one writer's approach on Anita Burgh. Can't recommend this blog enough as she knows her stuff having 23 books under her belt and tackles writing from a very no nonsense approach.

Finally a few photos - two of August Rock on a beautiful summer's day and two of some of the antics at the village regatta.

Missing in Action

I know I have been gone without any explanation and I am sorry. In the end the simple tweaking of A Cornish House turned far more onerous than I had anticipated. The family were initially quite tolerant, but as my computer time didn't lessen but grew a revolt of major proportions began........ So I went onto radio silence and pushed through until the damned thing was posted to RNA New Writers' Scheme.

I have been made to swear that I will not leave next year's submission to the summer or they will collectively divorce me. They are right. It was completely unfair of me to make them sit around while the sun actually shone in Cornwall just because I had a deadline. I will not do that again. I will find a waterproof/ sandproof laptop! No seriously I did bring a hard copy to the beach, but then spent the next day inputting the changes......

In this whole process I did have a meaningful moment. As most of you know I am dyslexic so I really struggle to proof anything. Even if I read alloud I don't find mistakes because my mind fills in the blanks and rearranges things to suit. I didn't have time to send ACH to be proof read (again leaving things to the last minute) so thanks to the advice of BubbleCow I downloaded a free text to voice programme and listened to ACH being read by the worst voice in history BUT wow........using a different part of my brain I found mistake after mistake. It was brilliant. Where as I have no confidence in my writing from a grammar/ spelling point of view - I do have confidence in 'my ear'. I just wish I had this dreaded man years ago...

So from here on awful man will read my story to me and I will trust my instincts with his help. Having said that it took ages to go through the whole book. Some paragraphs took five reworkings until 'my ear' was happy. My fingers and my brain work at very different speeds and sometimes totally independently. What my brain thinks my fingers have typed many times bears no correlation........The ghastly man only reads what is on the page not what i think is on the page.

Having said all that, a day after the script was in the post I was updating my web page with the revised first chapter and found two glaring typos on the first page........lesson - I still need a proof reader!

Have you tried the text to voice software? Does it help you?

Over at the Novel Racers

As I mentioned earlier this week - life is a bit busy. One of the things on the list was my shout for coffee over at the Novel Racers's Blog. So my post is here. It's about opening paragraphs and whether they reflect or even should reflect the book that follows.

Here's the latest version of the opening A CORNISH HOUSE for your perusal.

The car coughed to a halt then lurched as the trailer pushed it further along the dark lane. The headlights' beam silhouetted the twisted trees against the moonless sky. Their tortured shapes merged with the hedges forming a tunnel which enclosed the car. Maddie’s chest tightened. She forced her breathing to slow, but it didn’t calm her rapid heart beat.

May I ask - what does it say to you? Would you want to read on? What type of book do you think it is?

Now head back down and only coming up for the odd cup of coffee and glance at Twitter now that it's working again!

Swamped

I am knee deep in people and work and just managing to keep my head above water so forgive me for my silence, lack of comments, lack of visits and basically everything. Twitter messed me around and in the process really set me off kilter. I felt cut off for my coffee breaks as it were. The results is that I have set up a new account - @liz_fenwick.

Aside from that I have been working at editing A Cornish House and tying in with this Anita Burgh has a post on That Inner Voice that is simply a must read. Had I listened to it more I would be editing less - the upside is that I am listening now. More about this later when I'm through the first pass.

Hope the sun finds you all. It has just appeared here and everything looks better.

I'm over at the Novel Racers' Blog Today

I've posted on plotting over at the Novel Racers' Blog.

I'm behind on A Cornish House and I have been a victim of Twitter's cull so have lost all my followers and those I follow. If you followed me or I followed you on Twitter can you find me again! @lizfenwick Thanks!!!!

RNA Conference 4 (part 3) - Linda Gillard

Below is the final section of Linda Gillard's Sense and Sensitivity session.

But before that I just wanted to update you on where things are with my own writing. I had to leave Penderrown at 71,000 words and plunge into A Cornish House as the New Writers' Scheme deadline is approaching fast. The good thing is that I haven't looked at the manuscript in about seven months. It is amazing what the fresh eye can see and what I have learned in the intervening time. I have read all the feedback from last year's NWS report, agents comments and publisher comments. I looked for any real consistency and there was none! So it is now down to me as the writer to see where this story needs to grow and shrink. I need to give myself clear page deadlines for each day which have to be met or surpassed - I may be a bit quiet on the blog if I start falling behind (Needless to say that this deadline falls as DH is on his three weeks hols, hence the rain in Cornwall, the kids are all here and we have guests!) So each day I need to revise 25 pages which will give me time for one last read through before submission. Fingers crossed.

CREATING DETAILED CHARACTERS – using photos

Beware: description of character can be where writing sags.

It’s much harder to describe beautiful people than ugly ones! Difficult to avoid cliché. Focusing on non-visual aspects some of the time will help avoid the pitfalls.
(I avoid describing my characters because I think it’s a pit you can fall into. I also think it’s a weakness in my writing, so I don’t draw attention to it.)
You don’t want lists of adjectives, back-story, clichés. You mustn’t let readers switch off. (Some skip description!) Keep your descriptions sensory and vivid, and readers won’t want to skip.
Make your characters vivid by using concrete detail (and not just things you can see.) Be specific.

I often work from photos of real people (sometimes amalgams of more than one) because it makes me step outside my comfort zone and my own limited memory bank.
[Resources: PEOPLE photo packs Note: Here pick a few of your own]

WRITING TASK 5 Sensory Gymnastics!

1. Choose a photo and study it.
Imagine this is one of your characters.

2. Think of a smell associated with that character - their perfume or their natural body smell; the smell of the job they do; perhaps the smell of fear or blood.

3. Think of a sound associated with your character – the sound of their voice, an instrument they play, the music they listen to, a sound their body makes (eg asthmatic wheeze.)

4. Think of a texture associated with your character – the feel of their hair, skin, clothes, or something they touch in the course of their work, something they make as a hobby.

5. Can you think of a taste associated with your character? A food or drink they like? Or if your character lends himself/herself to the sensuous and erotic, something s/he tastes of?…

I want to thank Linda for sharing all of this. It is a fantastic set of exercises and I can already see the benefit.... So to find out more about Linda drop by her website. There is a great section on writing.

RNA Conference 4 (part 2) - Linda Gillard

Yesterday I posted part one of Linda Gillard's session on Sense and Sensitivity. Today brings you part two and tomorrow the final part. Enjoy.

You’ve been recording “TELLING” DETAIL - detail which tells the story




Look at the pictures of settings (note -these are just random ones off of my 'puter) and choose one that appeals - a picture that interests you, or that you might like to “walk into” if you could.

WRITING TASK 2 Settings 10 mins
1. Study the picture and make notes – sounds, smells, textures & tastes.

Try to imagine a full sensory picture of your scene.
Think about air quality, temperature… What would the textures feel like? What sounds could be going on in the background? Or is it silent? What is the quality of that silence?
Can you smell anything?… (Make things up!)

(Is there a detail that encapsulates the scene as a sort of sensory postcard?)

2. Try to develop your notes into a few sentences to capture the scene. Write about the visuals if you like but don’t let them dominate. Try to let the reader know what it was like to be there, not what it looked like.


Telling detail doesn’t have to be visual. (What things looked like wasn’t necessarily the most important thing.)

For the purposes of romantic writing, the other senses might do a better and less clichéd job.

In STAR GAZING I wrote love scenes (and indeed sex scenes) that had no visual element at all because they were written in the first person and the narrator-heroine was blind…

When writing my 1st novel EMOTIONAL GEOLOGY I’d made the discovery about “the spaces in-between” which readers fill in for you

Back story…
Post-illness, conserving mental and physical energy, I wrote short sections and I wrote about detail - the little picture, not the big picture.

When I got feedback from readers I found that focusing on detail had nevertheless painted a big picture because of the wonderful magic whereby readers fill in, as “co-creator”.

In EG I described rocks. People saw landscape.
I described colours and threads and people saw quilts.

In SG I described what rocks, trees, snow felt and smelled like and readers experienced the Isle of Skye.

If you write about details (eg describe eyes) readers will still see the whole. (ie face) Reader will fill in. (Cheshire cat’s floating grin – hard to imagine.)

In SG I described what the hero sounded, felt like and smelled like. There’s very little visual description of him.

Concrete detail will do most of the work for you if you really focus on it and make it vivid. It’s the “active ingredient”. If the detail is real for you, it will be real for your readers. And if the detail is real for readers, they will fill in the background, and that will be real too.

Detail is the writer’s labour-saving device!


WRITING TASK 3 A memory in detail 5 mins

Think of a time when things were very good or very bad for you (or for someone else.)

Describe some small part of that experience - not the big picture (the content/the cause) but a detail (eg the weather at the time, the sounds and smells in the hospital waiting room.)

Might help to begin with “I remember…” Avoid visual description as far as possible.

RNA Conference 4 - Linda Gillard

I was unable to attend Linda Gillard's session on Sense and Sensitivity, but heard wonderful things about it. Here's what Biddy had to say when she blogged about the conference over on The Pink Heart Society Blog:

"One of the best for me was Linda Gillard about Sense and Sensibility, the use of senses in writing. We mostly concentrated on all the senses but the vision. We live in such a visual world that sometimes we neglect the other senses. We did some exercises that really helped. "

So Linda has very kindly offered me her notes and allowed me to share them with you! Today I'll post through to the first exercise and then continue on from there. Before that though let me tell you a bit about Linda. She now lives in a village outside Glasgow, but spent six years living on the Isle of Skye. Her first career was acting which led to journalism then onto teaching and finally to writing novels. Her last novel Star Gazing was short listed for the Romantic Novel of the Year Award 2009. Here's part one of her notes:

"It is a terrible thing to see and have no vision." Helen Keller

Intro
How I came to write STAR GAZING’s blind heroine…
1. “Playing with my imaginary friends” led to imaginary hero
2. Non-visual representation of Isle of Skye to avoid cliché.

I thought the blind “pov” would be limiting and readers would get bored. Reverse was true.
It extended my writing.

Qualifications for a writer:
To be curious
To be observant
You need a good memory
To be sensual (esp. writers of romance!)

When you’re writing, you’re trying to see the picture, to watch the movie of your story unfold. You will eventually be trying to hear what the characters are saying. You’re “eavesdropping”.

But do you tend to stop there?
Do you ever wonder if your readers feel as if they are actually there, in the middle of your story? As if it’s happening to them?

We tend to confine our observations to what we see and hear, but experiences and memories are very much related to all the 5 senses: sight, sound, touch, smell & taste.

Memories aren’t just visual.
eg “They’re playing our song”. The power of familiar music to evoke whole scenes.
Looking at holiday photos will show you only what you saw. They don’t convey the heat, the sound of the sea, the noise of children playing, the delicious smells coming from the taverna.

A visual record is incomplete but we tend to think a visual record is a good record simply because sight dominates our other senses. And we live in a visual age. (Elizabethans invariably talked about going to “hear a play”.)


Examples of my childhood memories that couldn’t be captured just visually:

Smell of blackcurrant leaves and the buzzing of bees in the hollyhocks when I played as a child in my garden.

Basil’s Italian ice cream (taste of vanilla, crystals in and coldness of ice cream; the sound of his bell which triggered excitement and salivation!)

The two abiding memories of my first teddy - damp patches on his paws where I chewed and the sound of sawdust moving when I squeezed him. (But I can’t remember what he looked like.

WRITING TASK 1 A Childhood Memory 5 mins 10.25 – 10.30

1. Record an intense memory, perhaps from childhood. Try to recall the event in more than just a visual way. (Your oldest memories are unlikely to be just visual, that’s why they’ve stayed with you.) Use all your senses. Jot down your impressions in note form.

2. Select most powerful aspect of that memory, the thing that brings it to life for you. Note whether it’s a visual memory.

Tomorrow part two........ and let me know how your exercise went and I'll share mine!