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Starstruck

Starstruck
Creative Writing for health, well-being and fun!

Saturday, 19 March 2011

Writing with confidence

For me, as a writing coach, one of the most revealing questions directed to an agent and listed – among many - in Harry Bingham’s Getting Published (A & C Black 2010) is:

Are you taking on me or my book?

You need to know it's you. That would mean they are on your side, they believe in you, they’re going to work for you, they have not assumed you are a one-trick pony.This will do wonders for your confidence as a writer. And the confidence to say ‘I am a writer’ is an elusive quality among the unpublished but hopeful.

This of course is a nonsense. Publication in itself is not proof of writing talent. It is, it’s true, a form of external evaluation and accreditation. But - like many of the people sitting in my workshops – many hopefuls could in truth and in confidence make the statement ‘I am a writer’.

But they don’t.

Word Choice


A glance at any local paper throws up a fine crop of furious residents and heart-broken pensioners. Avoid such clichés. Journalists use clichés for speed - and sometimes out of laziness. Either way, the words and images have been used so often that - in comparison with their former vibrant selves - they are milksops. This is the writing equivalent of crying ‘Wolf!’ And you’re better than that.

Writing Game

  • Read something published.
  • Underline the clichés.
  • Find words, phrases, imagery which you judge more vivid and apt – making the piece in your view a superior version of the published work
  • Take a piece of your own writing and do the same.

On the other hand, educating the editor is not your job, either. The editor represents the reader and the standard of English he promotes is on a par with the standard of English of the readership. He/She may have favourite words. An editor of a national magazine was once hooked on the word, 'clement', and this produced, as George Orwell would have said, some ‘barbarous’ prose. But it is not your place in life to correct busy people.

You may however permit yourself the occasional flight of fancy. The Girl with the Dragon Tattoo author Stieg Larsson’s translator Reg Keeland uses the word, Gallimaufrey, to mean medley. Originally meaning a hash of odds and ends of food (see OUP, The Shorter Oxford English Dictionary), the word is rarely used in spoken English today. Hmm, sad. And would you be the one to tell him?

Writing Game

  • Read a good dictionary
  • Find seven new words of the calibre of gallimaufrey– as quaint, archaic, poetic, tuneful . . .
  • Try to introduce one of these into your conversation as often as possible, each day for a week.

Tuesday, 1 February 2011

Storying and Plotting - what's the difference?

We all love stories. And story-telling is a uniquely human skill. It’s unlikely that a flock of birds, for example, would spend their time telling ‘sad stories of the death of kings’, as Shakespeare, a master story-teller, put it. Unless of course, these birds are descendants of Jonathan Livingstone Seagull. But then, that would be another story. You see how it goes.

Stories allow readers to understand other viewpoints in other worlds – ranging from other people’s minds to other people’s cultures. There has been a growth, for example, in novels which explain a Muslim viewpoint – Sebastian Faulks’ A week in December or A Thousand Splendid Suns by Afghan author Khaled Hosseini. These novels are best sellers because people want to understand the Muslim point of view and these novels seem to help.

Readers achieve this understanding because they engage with the novel’s story. Put simply, we as readers enter the dream world of the novel and we learn what that world and those people are all about. And, as writers, to engage them - to take them by the hand and across the threshold - we use plot and structure.

Writing game:

  1. Choose one of your favourite books
  2. Which character do you like best and why?
  3. What is the problem or conflict your hero/heroine has to deal with?
  4. What is the most important moment in the story for you?
  5. Are you happy or unhappy about the way the story ends?

If you repeat this with several novels, you’ll begin to understand why these are your favourites.

Freelance Journalism - Interview Skills Workshop

Do you think you may need to interview someone for an article you’re writing?

Or do you think you may be interviewed because of your work?

Either way, would you like to feel better prepared?

Come along to this workshop when Elizabeth Gates MA – with a freelance journalism career spanning 25 years –

will let you into the secrets of interviewing and being interviewed so you feel more competent and confident in this basic journalistic skill.

Date & Times: May 18th 2011 1.30pm – 4.00pm

Place: The Conservatory, 28 Park West, Heswall, Wirral, CH60 9JF

Cost: £25.00p per participant (£5 non-returnable Deposit)

For further information or to book please contact Elizabeth on 0151 342 3877 or email her at Elizabeth@lonelyfurrowcompany.com

Friday, 20 November 2009

Seven Ways to use your writing coach!



Many things can cause an otherwise worthwhile writing project to founder. Your writing coach will keep your project, your writing career and your writing ambitions safe. Your writing coach can help you:
Set clear goals and deadlines
Organise your life as a writer
Identify training needs in the genre of your choosing
Organise your research
Start writing and keep going to the end of the first draft
Handle feed-back, edit and re-write
Publish, broadcast or share in other ways


1. Set clear goals
Where do you hope to go with your writing project? Following your nose can work. But sometimes planning can help you arrive where you want to be more quickly and with better results. So, some writers start work, bristling with diaries, ‘road maps’ and post-it notes – lending a writing project the air of a military offensive. If you favour this style – and many do - your writing goals may benefit from the strong-minded application of management principles. Your writing coach can guide you here.
The SMART formula is currently popular. Adopt this and consider:
1) Is your writing goal Specific? (What form(s) of writing do you want to work on? A novel? A radio play? An academic treatise? The ultimate letter of complaint? )
2) How will you Measure your success? (Do you, for example, want to hold your published book in your hand by the second August Bank Holiday?)
3) Are you Able to produce this piece of writing? (Or do you need more training?)
4) Does this piece of writing Relate well to who you are and what you want from your life? (And does writing mesh well with your other hopes and aspirations at this time?)
5) What is your Time-line for this goal? (Deadlines work wonders for some.)

Meeting your own promises – Commitment
Once you’ve shaped your writing goal, of course, you must then consciously to commit to the process. According to the American Society of Training and Development, conscious commitment enhances your chances of success in any project. And the probability of success, it is said, ranges from 25% - if you decide to do something - to 50% if you plan how you will do it, to 95% if you ‘have a specific accountability appointment’ with an independent person. A writing coach, perhaps?
Being accountable to a coach is powerful. Knowing you’ll have to explain yourself can override your natural instinct for, say, making the family porridge or walking the dog. Imagine how you’ll feel when your coach asks you ‘Where is Chapter 3?’ and you have to reply ‘I haven’t done it.’
According to a 2002 survey, 81% of adult Americans wanted to write a book – and feel they should have done - but only 2% of these did. With your coach’s support, and your commitment, you should be able to join the 2%. At least, if you don’t, with coaching, you’ll understand the reasons why.

2. Organise your working life as a writer
Your working style contributes to the success or failure of your project so you may need to identify the best working style for you. If you hope to be a writer, words – and books – probably suit you. But do you ever feel that you work better with music in the background? Or that people telling you their stories is preferable to spending time in the library with psychological treatises? Or pictures inspire your writing? Different approaches – or a blend of these – may work better for you than keeping office hours at your desk. But, for some writers, office hours work best. Discussions with your coach will help you strategise to optimise your working style
You’ll also benefit from considering life-style issues which can influence your project’s outcome. These include:
Work/Life Balance and relationships
Wellness for writers
De-cluttering your working space and your mind
Time management and productivity
Handling rejection and starting again.
And much more.

3. Identify your training needs and develop writing skills
The important issue may be whether your words on the page say what you want them to say. But publishers aren’t noted for their patience in wading through poor presentation to discover this. You may also lack confidence regarding your grammar, punctuation or your choice of words and, if you do wish to publish, you could need an intensive programme in these skills. With practical exercises and recommendations for further reading, your coach can customise a programme to help you with the nuts and bolts of writing as well as the grander requirements of structure, theme and consistency. Writing training of this calibre will make you a professional.

4. Organise your research
Having too little material is rarely the problem. Having too much is more usual. And, as you move more deeply into the project, the goal-posts may shift. In a novel, for instance, as characters take on their own life, the ensuing structural changes can be seismic. And, during this process of seismic change, your coach will hold your agenda, calm your panic attacks, and help you understand what information from your research the reader needs to know and what information is merely distracting – especially apt for historical fiction writers! Your coach will work with you to develop a flowing chapter block-out – outlining chapter contents and arranging them in the most effective way. This will also be useful when you come to write a synopsis for potential publishers.

5. Motivation – start writing and keep going
Your coach will help you to deepen your commitment to your writing and become aware of those values you hold both as a person and as a writer. You will then understand what motivates you and how you can use this not only to start your writing project but also to keep it going. Writing a novel, for example, is a long haul, possibly using up two years of your life. You need to have the clearest idea of your motivation before you start.
You’ll also avoid procrastination. All working writers have tricks to help them keep writing and minimise displacement activities – such as the washing up. For some, for example, the electricity bill can be a major motivator. But, you may need something more subtle. Work with your coach to find out what motivates you to write and anchor this.
This done, when you wake in the morning, the first thing on your mind will be making use of the insights which came to you in the night. International creativity guru Eric Maisel calls this journey to your workplace from your bed the most important and the most dangerous walk of your day! Distractions abound. But it is also, he says, the walk that gives your life its meaning.

A Word on Writers’ Blocks
More serious than daily displacement activities, the writer’s block can make your project founder. It presents as fear – a rabbit in the headlights moment - in face of the blank page. You may be afraid of starting, of rejection, of the perceived imperfections of your writing, your inadequacies as a writer, even success (and what happens next). Your fears may be a very mixed bag.
A real block may need some effort to remove but the constant support of your coach will help you regain control of your project. And your coach will keep hold of your agenda even when you lose sight of it and be able to suggest strategies such as free writing; or modelling yourself on other blocked writers who’ve successfully moved forward. Or a laser coaching session. Ten minutes on the phone can do the trick!

6. Handle feed-back, edit and re-write
At the end of the first draft, you may feel you’ve done enough. Unfortunately, not. Editing is an essential part of the process and re-writing happens as often as needed to make the manuscript as perfect as possible. There is no escaping this and feed-back is a useful guide. Avoid friends who will just rubber-stamp your brilliance. This is when you need to ask for honest feedback, not just to assess the viability of the project – you should already be convinced of that – but to iron out inconsistency, flag up inaccuracy, and identify absolute nonsense. You may choose whether or not to integrate suggested changes but those who make them are invaluable in your process. Receiving feedback – the when of it, the who of it and the what to do with it now of it – is only the start of the sixth phase.

7. Move on to publication
This is the sharing bit of the process. Communication demands someone to receive what you have to say. None of us works entirely in a vacuum - even though you may feel that writing for yourself alone is enough. Or you may want to be published or broadcast and need the support of a coach to move out of the cocoon of your writing life and into an industry which like any other exists to make a profit.
Your coach will help you when you need to consider:
Preparing your manuscript for submission
Covering letters
Writing a proposal for a publisher or editor
Marketing for writers
Beginning the next book.

Good Luck!
©Lizzie Gates@Lonely Furrow Company 2009

Thursday, 19 November 2009

Book Proposal Workshop!

ARE YOU A WRITER?

OUT OF THE BOX
WRITING FOR PUBLICATION WORKSHOPS
Presents a Series of 10 weekly workshops on

YOUR BOOK PROPOSAL – HOW TO WRITE A WINNER!

Facilitated by published writer and writing coach Lizzie Gates, these workshops will help you write a professional book proposal. Whatever your writing project – from self-help book to memoir - you will have the opportunity to look at issues such as titling, chapter block-outs, outlines, marketing options, query letters and much more. At the end of the series you will have a book proposal ready to send out to a publisher.
Cost: £10 per person per workshop (Places restricted to 10)

Come and join us!
Series starts on January 20th 2010
1.00pm - 3.00pm
@
The Conservatory, Thornthwaite, 28 Park West, Heswall, Wirral, CH60 9JF

Telephone 0151 342 3877 or 0796 961 8890 or email Elizabeth@lonelyfurrowcompany.com
for further information.

Short Story Workshops

ARE YOU A WRITER?

OUT OF THE BOX
WRITING COACHING WORKSHOPS

Present

A series of 10 weekly workshops on

The Short Story

Facilitated by professional writer and writing coach Lizzie Gates, these workshops will look at technical issues such as character, plot, theme, setting and style as well as issues such as wellness for writers, time management, managing your creative life, what to do with feedback, competitions and markets and much more!

Cost: £10 per person per workshop

Come and join us!
Series starts Thursday 21st January 2010 7pm - 9pm
@
The Conservatory, Thornthwaite, 28 Park West, Heswall, Wirral, CH60 9JF


Telephone: 0151 342 3877 or 0796 961 8890 or email Elizabeth@lonelyfurrowcompany.com for further information