The Art of Writing

A Writers Retreat in Tuscany

Tag: creative writing course (page 1 of 9)

Why every writer should join a writers group.

There are no excuses anymore. By joining my little writers group in Florence I must write, must edit and must listen to my fellow writer’s thoughts and advice. Why didn’t I do this earlier?

Thinking of joining a Writers Group? Here's why you should.My writers group lets me know what is not clicking. So often we think our readers will understand, that they will ‘get’ what we’ve written. But my writers group lets me know that, actually, they didn’t pick up the thread because I wasn’t clear enough, or didn’t explain enough. Yes, it’s a little daunting, scary, being picked apart but it’s so good for your work! Your writing group sees where you can extrapolate. They let you know whether your story is engaging or not. My last question to my fellow writers this week was ‘do you want to know more?’ and that, as a writer, is what we are aiming for, no? Are you hooking your readers? Are they bored? Overwhelmed? Disinterested?

Thinking of joining a Writers Group? Here's why you should.I must say, I had put off joining any kind of writers group for years. It’s my first time. Funny, huh, after four books and finally on my fifth that I now know I need fresh takes, readers, second opinions. Probably because this is my first Fiction book, while the others were all Creative Non-Fiction. I cannot recommend sharing with a writers group highly enough. Especially if you are embarking on a new form of writing, like I am.

Thinking of joining a Writers Group? Here's why you should.Am I being narcissistic also adding that the thought of plagiarism within writers groups also scared me? I had heard of writers sharing their work, only to have ideas copied, concepts imitated and phrases plagiarized. But I flattered myself. Their work is fantastic! Who did I think I was? They’re amazing! My work is paltry compared to theirs.

Check your library or local arts group for any writers that meet up. Start a Google Docs Sharing session so you can all post your work, and pick the month to upload your work.

Go on, do yourself a favor and force yourself to diarize, write, share and enjoy writing with other people. Regularly!

Thinking of joining a Writers Group? Here's why you should.

Characterization that will keep readers compelled.

What’s the difference between superficial and deep characterization?

Deeper comprehension of point of view and why a character makes certain decisions is deep characterization. Give readers a three dimensional grasp of your protagonist with motive and point of view, not only a superficial description of their voice or hair.

Characterization that will keep readers compelled.

Shallow habits, way of life, routines and mannerisms can lead us to formulate a way to show deeper description. Habits are formed, a way of living arrived at, routines chosen and mannerisms developed. How? Your superficial portrayals can reveal moral fiber and history. Excellent! But generally speaking your reader will really understand the protagonist’s fundamental character when they understand his/her point of view. That’s where you have to show not tell. Scenes that tell a story explain point of view.

Characterization that will keep readers compelled.

I like to establish motive first and foremost. Motive obsesses me for the first 20,000 words at least. I feel that if readers don’t understand the why, then you are not going to convince them, or make them believe. For example, in my new book, why is Leone lonely? Why doesn’t she have any friends in Florence? Why is her mother-in-law such a big part of her life? And why is she, of all people, being targeted by con people? Once I have those deeper characterization issues sorted, with stories and scenes, the plot can fully evolve and my readers will believe everything that happens to Leone.

Your reader should clearly understand why the protagonist makes certain decisions; only then can they understand the problem, action or ‘what’s at stake.’

If, through superficial and deep characterization your protagonist and antagonist are believable and compelling, you’re on your way!

And if you would like to learn more about building a strong, memorable cast in your novel, visit my previous blog on how to create distinguishing aspects for each of your characters. Be sure to also check out my favourite character-building tool, the Character Bible

Characterization that will keep readers compelled.

How to make strong, memorable characters your readers won’t forget.

Make strong, memorable characters your readers won't forget.When writing Death in the Mountains, I made sure to give each member of my 1907 poor Tuscan family a characteristic or quality that made each person memorable.

  • Bruna liked to touch things. She was so in sync with the land and farming environment around her that she was tactile with the things she grew, made and created.
  • Artemio had bandy legs, a leftover from soft bones due to a lack of Vitamin D and rickets in his youth. He was swaddled and left inside for months without the sun. A common disorder of Tuscan babies in the past.
  • Fiamma was a fire brand, like her name which means flame.
  • Mario was violent and exuded anger like a perfume. Because of this characteristic he ultimately beat up the farm’s overseer. You can imagine the problems that caused!
  • Maria was beautiful.
  • Silvio hated wearing shoes.
  • Pasquale was only ever mentioned as ‘baby Pasquale.’

Make strong, memorable characters your readers won't forget.And onwards for each character within the pages of Death in the Mountains.

Giving each character at least one mannerism is a process that many writers follow. It helps writers dig more deeply into a character, enlarge upon or extrapolate the person or the location. It also helps readers remember your characters, no matter how big or small their part in your story.

What mannerisms or habits have your protagonist’s history given him/her? What kind of impact does that have on your story or scene?

Make strong, memorable characters your readers won't forget.The Italians are fascinated by beautiful women, more so than other nationalities that I have encountered. They LOVE a beautiful woman; they venerate ‘bella.’ Making Maria absolutely drop dead gorgeous helped me examine the Italians attitude to beauty. It helped me form Maria’s character; it even helped me create the narrative and plot line for the book. Who could fall in love with her? What impact would that have on the family? How did Maria feel about being so beautiful? Did she see the impact that she had on people? How did it feel for her father, Artemio, to go into town or church with a daughter that everybody stared at and talked about? How would Mario, Maria’s aggressive, troubled brother feel about her beauty? Was he protective of her?

Make strong, memorable characters your readers won't forget.In the end, giving Maria that physical characteristic of beauty helped me write a much better book. Her beauty gave me ideas, outcomes, reactions, actions, scenes.

In my next Blog I’ll look at the difference between superficial and deep characterization.

Follow me on Facebook and Instagram too for my new #WriteTipWednesday! Every Wednesday I’ll give a writer’s tip and then examine the issue more deeply with my Friday Blog.

If you’re interested in reading more about the rural life of Tuscany’s past, check this post out on Nonna.
Make strong, memorable characters your readers won't forget.

Writing the Blockbuster Novel; learning from New York Literary Agent Albert Zuckerman

Writing the Blockbuster Novel; learning from New York Literary Agent Albert ZuckermanAm reading such a good book on writing at the moment, one that has inspired this Blog. Albert Zuckerman is the New York Literary Agent responsible for doctoring some two dozen blockbuster novels. It is with great reverence that I read his thoughts on how to produce a perfectly polished final manuscript, every morning.

Writing the Blockbuster Novel; learning from New York Literary Agent Albert ZuckermanSince finishing Julia Child’s The Artists’ Way (which lasted me about eight months) I had been writing my morning pages solely in journal form, like a diary. I wrote every morning, just to write, without reading a book with creative writing exercises, artistic guidance, direction or help. In other words, I wrote just to write, to kick-start the day’s work in front of the computer.

Writing the Blockbuster Novel; learning from New York Literary Agent Albert ZuckermanHowever, my Morning Pages of journaling lasted about a month before I became mind-numbingly bored with my own jaded, tired, same old, same old diary keeping. Actually my Morning Pages just became a list of things that were pissing me off (my husband featured as protagonist a lot – sorry Paolo). Then along came Writing the Blockbuster Novel by Albert Zuckerman. I will never journal again. I will always, from now on, do my Morning Pages with someone like Albert.

Writing the Blockbuster Novel; learning from New York Literary Agent Albert ZuckermanNot only do I learn and grow, rather than navel gaze, but Albert is also helping me realise that I am on the right track with my goals and dreams in setting my new novel in a contemporary Florence. Albert says ‘Readers enjoy being introduced to exotic environments where, almost as tourists or students, they can observe and learn about customs, mores, rituals, modes of dress and etiquette, social and business practises largely or wholly alien to those with which they are familiar.’ Because on the whole, readers like to learn. Of course this is not the case with all blockbusters and all novels but some of the best known examples of environmentally dominated bestsellers are Airport, Hotel, Overload, Wheels, The Moneychangers, Alaska, Chesapeake, Poland, Hawaii, Texas, Tai-Pan, Nobel House and Shogun. Then there are the techno blockbusters set on planes or submarines etc.

Writing the Blockbuster Novel; learning from New York Literary Agent Albert ZuckermanAll of which inspires me to write to you and tell you that you can set your book in your own backyard as well, but only if you invent a backyard with unique, culturally spot-on characters and plot that has distinctly different dialogue/dialect and details. But if you are choosing a setting right now for your plot, chose a setting that’s different. That unique setting will help sell your book.

It all makes Florence seem like a good setting for a contemporary thriller. Right, I must get back to my writing now because Albert has inspired me to keep going…and also to learn and grow in the morning over breakfast rather than ruminate on my own dull thoughts.

Writing the Blockbuster Novel; learning from New York Literary Agent Albert Zuckerman

New Year’s Resolutions; Finding, and making, time to write.

New Year's Resolutions; Finding, and making, time to write.With Christmas and New Year over I see all the Writing Blogs, writing sites, podcasts and publisher’s social media platforms going crazy about New Year’s writing resolutions. I wish I could join in! After all these years writing you’d think I’d be first in line with encouraging tips and tricks as to how to make 2017 the year of quality text or how to have more productive time etc, etc, etc. Others are screaming; Resolve to Write More! Start Editing Now! Land that deal in 2017! But I’m not. 

New Year's Resolutions; Finding, and making, time to write.I seem to be imploring the universe for time to write, then when I do carve out some time I sit in front of the computer distracted by emails, admin, The Art of Writing, social media and a whole lot of other stuff that doesn’t help me increase the word count on my book.

Surely, I can’t be alone in this vortex of grasping at air, trying to shop for food, cook food, clean up Christmas decorations, send invoices, chase invoices, tend to urgent tax, hunt down errant bills and the other boring mundanities of life?

IsNew Year's Resolutions; Finding, and making, time to write. anyone else being sucked into such a humdrum everyday routine that their creative impulse is left trampled like a mat at their front door?

I was writing. The book was flowing and really happening, moving forward. Then came Christmas and New Year and now I can’t seem to get into the swing of it.

One thing is for sure. I am not giving up. Next week will be better.

New Year's Resolutions; Finding, and making, time to write.

Head of UK HarperCollins Women’s Fiction to join us from September 10-16!

Martha Ashby, the Director of UK HarperCollins Women’s Fiction will join The Art of Writing for one week from September 10-16! Martha will be with us all week but will meet with us formally on Friday, September 15 over a glass of wine to discuss anything you want! What holes does she see in first time manuscripts? What’s hot and what’s not? How can I get my work published?

This is your chance to ask a major publisher anything you’ve always wanted to know about publishing but never had the chance to ask. 

This is sensational news. So if you have…

* an idea

* a plot

* a half written manuscript – maybe your writing has stalled and your confidence has crashed.

* a dream – maybe your dream is to write part or full time. Would you like to know more about the reality of a ‘writing lifestyle?’

* had a series of agent rejections

* a trilogy idea or if you are inventing a genre idea (like me)

* doubts about whether what you’ve written could possibly sell to a reputable publishing house.

Then Martha Ashby’s one week with us from September 10-16, 2017, is an incredible opportunity to chat, one on one, with the Director of major, traditional publishing house HarperCollins.

If you have any inclination to join us, or any questions, just let me know. This is an amazing chance to show your work to the people who might actually buy it, so don’t be shy – let me know asap.

All my very best wishes for a fantastically creative 2017!

On being published: an interview with Martyn Bedford

On being published: an interview with Martyn BedfordMartyn Bedford will take our writers retreat from September 10-16, 2017, as we focus on nurturing and replenishing your writing skills. Martyn’s five morning classes will teach everything from dialogue to character to voice.

Martyn has written several novels for adults and young adults. His debut novel Acts of Revision was the winner of the Yorkshire Post Best First Work Award. His third MG and YA novel, Twenty Questions for Gloria, received wide acclaim. He has also published numerous short stories in anthologies, newspapers and magazines and his first solo collection is being published by Comma Press in 2017. 

For this week’s blog, I spoke with Martyn about publishing, success, and ‘making it’ as a writer. 

On being published: an interview with Martyn BedfordWhat is something that you still struggle with as a published writer today?

The same things I struggled with when I started out! Each new work of fiction poses its own set of creative and technical challenges: new characters to create, a different story to tell, the search for an appropriate structure and narrative approach, a new voice to strike, different themes to explore, and so on. Just because you’ve written stories and novels before doesn’t mean you’ve cracked the art and craft of writing or discovered some kind of formula that enables you to reel off the next one without difficulty.

With every piece I’ve written, there has always come a point during drafting or redrafting when one or more of those elements I’ve just listed isn’t working and I start to doubt whether I can fix things this time round. What experience gives you, though, is the degree of self-confidence that comes from knowing you’ve somehow found a way through previous crises. And an awareness that struggle is part and parcel of the creative process.

On being published: an interview with Martyn BedfordIf you could tell your debut self one thing about being published, what would it be?

Don’t assume that being published means you’ve ‘made it’ or that all will be sweetness and light from now on.

I was thirty-six when I signed the deal for Acts of Revision and, having spent nearly a decade trying and failing to get two previous novels published, I allowed myself to believe that I’d finally entered a kind of writers’ nirvana. What I’ve come to realise in the twenty years since that debut novel came out is that the publishing world is a welcoming place when things are going well for you but can leave you feeling isolated and forgotten when you have the inevitable professional or creative dips. So, I’ve had to learn to enjoy the good times when they come along and hang on in there during the bad times. In the end, all you can do is try to stay focused on your writing and not on the distractions of ‘being a writer’.

On being published: an interview with Martyn BedfordYou published several adult novels before switching to YA. What are some aspects of YA fiction that you think writers across all genres can learn/benefit from?

The distinctions between fiction for adults and young adults aren’t as great as you might think. I certainly don’t feel I write all that differently when I’m working on a YA novel to when I write for an adult readership. It’s still about getting your characters right and telling their story in the best way that you can.

But there are some key characteristics in YA that are worth noting. For example, younger readers tend to prefer stories that keep the plot ticking along more quickly and more obviously than is the case in ‘literary’ fiction for adults (although, of course, plot-driven narratives are also a feature of genre adult fiction, such as crime, thrillers and science fiction.) And while YA, these days, often explores serious and sometimes quite dark themes, this is done through character and story, without slowing the narrative pace. You don’t tend to find the long passages of reflective interiority or thematic exposition in young-adult novels that you often see in literary fiction for adults.

So, I do think there’s something to be said for writers of all kinds of fiction bearing in mind that we are storytellers not message-givers. I’ve read so much YA fiction over the past few years that when I’m reading a literary novel for adults I often catch myself thinking, “Oh, for crying out loud, just get on with it!”

For next week’s blog, I will be asking Martyn to share his favourite creative writing exercises, lessons, and tips for his students, as well as the most common errors he sees his students make.

DESC: Agriturismo Corsignano ARTICLE NAME: USAGE: PRESS USAGE: 1st published DATE: TERRITORY: Australia and its territories ONLY PUBLICATION: MAGAZINE © 2009 Vincent L Long (PRESS USAGE: 90 days from date of first publication date ONLY) NB: Images may not be stored digitally, either in original format OR as a copy and must be removed from publisher’s archive immediately after publication. Image files may not be placed into publisher’s stock libraries or sublicensed or onsold to any third party libraries and are supplied for one time editorial use ONLY. Reproduction fees must be agreed with Vincent L Long BEFORE USE. Usage Rights subject to FULL payment of relevant invoice(s) MANDATORY ACCREDITATION MUST READ: © Vincent L Long

Marriages Are Made in Bond Street; Penrose Halson and her fascinating book about a 1940s Marriage Bureau.

Marriages Are Made in Bond StreetPenrose Halson is the author of Marriages Are Made in Bond Street and this year, Penrose and her husband Bill joined us for a week in Tuscany for The Art of Writing. I was intrigued by Penrose’s story, the fascinating purchase of a Marriage Bureau and the subsequent stories and ultimately a book that she wrote from its archives. The stories in her book Marriages Are Made in Bond Street reveal the lives, expectations, yearnings and loves of the men returning home from the Second World War and the women who remained at home, searching for a partner in life that in those years were difficult to find.

It’s a beautiful book and its rise and rise in popularity has Penrose busy with Writers and Literary Festivals all over the UK. Not only has Penrose found herself to be a successful writer within the world of publishing long after retirement, but she’s also found herself the owner of a series of stories that are very likely to become a major TV series.

Here is a peek at the Marriages Are Made in Bond Street precis:

Marriages Are Made in Bond StreetIn the spring of 1939, with the Second World War looming, two determined twenty-four-year-olds, Heather Jenner and Mary Oliver, decided to open a marriage bureau. They found a tiny office on London’s Bond Street and set about the delicate business of match-making. Drawing on the bureau’s extensive archives, Penrose Halson – who many years later found herself the proprietor of the bureau – tells their story, and those of their clients. We meet a remarkable cross-section of British society in the 1940s: gents with a ‘merry twinkle’, potential fifth-columnists, nervous spinsters, isolated farmers seeking ‘a nice quiet affekshunate girl’ and girls looking ‘exactly’ like Greta Garbo and Vivien Leigh, all desperately longing to find ‘The One’. And thanks to Heather and Mary, they almost always did just that. A riveting glimpse of life and love during and after the war, Marriages Are Made in Bond Street is a heart-warming, touching and thoroughly absorbing account of a world gone by.

Marriages Are Made in Bond Street

Gorgeous, just gorgeous. I love everything about this book and the story behind the author so I couldn’t help but ask Penrose to be a part of my Blog on writing. Here’s how Penrose’s life changed:

In 1986 Bill and I bought the Katharine Allen Marriage & Advice Bureau, established in 1960 by Betty Allen-Andrews, a formidable Irish-American woman who conducted her business by personal interview and letter. She wrote long, detailed, graphic letters, which I read with amazement as I tried to understand how the Marriage & Advice Bureau worked. Betty’s letters were full of stories.

In 1992 the daughter of Heather Jenner, who was then running the Marriage Bureau founded by her mother in 1939, faced with a 700% rent increase, was forced to close the bureau. She asked me to take over her clients, which I did. Later she gave me the bureau’s archives.

In 2014 the speaker at a meeting of the Freelance Media Group, run by a dear friend, novelist Jane Corry, was television development producer Tara Cook. She asked if anyone had ideas for television; I said I had a lot of marriage bureau stuff. Intrigued, Tara came to see the archive – ledgers, press cuttings books, photographs, documents, letters, which smelled mustily of the old barn where they had been stored for years. She read some of the Marriage & Advice Bureau stories that I’d written up fourteen years earlier; and eventually, to my bemusement, Carnival bought an option.

At the same time I dusted off those stories, which had been sitting in a drawer for 14 years while I was otherwise busy (mother with dementia; becoming Master of a City Livery Company) and sent them to an old friend, Katie James. Katie had always been interested since she was the step grand-daughter of Heather Jenner who founded the business. She also happened to work at Pan Macmillan; and unbeknown to me, she showed the stories to the Non-fiction Publishing Director, who called me in and said that she wanted to publish the book.

Marriages Are Made in Bond Street

Having imagined that I would have to try to persuade her to consider a book, and that I would probably fail, I was fairly taken aback, but got on with it, beavering away for about a year. It was totally absorbing and I was gripped. Originally I had imagined a book covering the entire life of the two marriage bureaux, 1939 – 2000. However, there was so much fascinating material that Marriages Are made in Bond Street covers only 1939-49.

There is enough to fill more books, so if Marriages is successful enough to warrant sequels (which may of course depend on whether a television series materialises) I could still be writing when I’m pushing 90! I have always loved writing, and did a great deal early in my so-called career (innumerable educational language magazines, readers, courses for children learning languages, and children’s books, as Penrose Colyer). But a grown-up book such as Marriages is a far more complex and engrossing activity than Parlez Français avec Dougal

Such a lovely story. And I hope it inspires you all to keep writing and to keep believing in your ideas. You never know what can happen!

I also couldn’t resist this week adding some lovely comments I received today from an alumni member of The Art of Writing, Rose. “It’s incredible how the strength of connection that we all gained two years ago in those Casentino mountains still holds firm and true. Well done on creating something so special – it remains one of the most significant weeks of my life.” Rose’s comments, along with Penrose’s magical story inspire me to keep going!

image

When friends create their own writers retreat.

When friends create their own writers retreat.Gathering creative spirits, escaping to a beautiful, isolated village in Scotland to share writing, discuss plot and workshop ideas – that’s what I did last week with four writer friends. We created our own writers retreat. Our own circle of like-minded, kindred creative spirits and bowed out of society for 6 days to concentrate on our pages.

And I cannot recommend it highly enough.

When friends create their own writers retreat.There are times when you need to surround yourself with other writers. Why wait for an official retreat, organised by someone else? Rent a lovely home as soon as finances allow and share the expense with friends so that you can think and dream and try. Target an area in the country that you’d like to hike through too. Because nothing is better after a morning of writing than a few hours walk.

When friends create their own writers retreat.The best aspect of organising our own writers retreat was the aperitivo hour. Every night each one of us would read our work and we would discuss together the manuscript’s problems or what we called ‘its dilemmas.’ The sacred time of sharing our work each night gave me several epiphanies. My new book sharpened, as my friends pointed out flaws or suggested improvements. Its focus, flow and ‘what’s at stake’ has improved enormously thanks to them.

We shared the cooking too! Each night a different cook. Oh, the joys of being cooked for!

Don’t wait for the Art of Writing – organise your own, private, personal retreat with writer friends. Your writing will benefit and so will your soul.

When friends create their own writers retreat.

Happy thanksgiving to you from the Art of Writing team in Tuscany!

I hope this note finds you in a contented space, in a peaceful frame of mind with moments of quiet so your mind and heart can roam freely. That would be my thanksgiving wish for you – inner peace for calm thought, tranquillity and stillness. 

This holiday note is to send you my best for Thanksgiving and also to let you know our plans for our 2017 June and September retreats. 

Ready submitJune 4-10, 2017

The Art of Suspense

Following this year’s interviews and discussions with global agents and publishers, it is beyond doubt that the most frequent request from those working in the world of literature is for gripping text. Strong story lines that hook readers from the first chapter are more essential than ever. Every commissioning agent and associate editor requested engaging stories, with deeper characters, more compelling dialogue and thrilling plot-lines. It is with this demand in mind that we’ve decided to run a retreat focusing on pace, build-up and how to write unputtowndable text — in all genres. Whether you’re writing historical non-fiction, your own family history, romance, a memoir or literary fiction our 2017 Tuscan workshop aims to tighten your words and sharpen your story-telling. 

imageSeptember 10-16, 2017

Nurture and Replenish Your Writing Skills

We feel more than ever that creatives need time away from their day to day environments to write effectively. Sometimes our routines, together with the demands of our families and the distractions of technology can entirely disconnect us from our writing goals, dreams and deadlines. Completely immersing yourself in a community and environment that nurtures your writing skills always stimulates your best work. Learning, practising, sharing, and listening to new ideas and fresh thinking inspires your finest writing. That’s our aim for you in the second week of September – to nurture and replenish you and your written work so that you produce your best work ever.

I look forward to meeting you.

All the best from Florence,

Lisa Clifford

2013-09-09-17-57-14-640x500 dsc4036-640x500 dsc4172-640x500 dsc32471-640x500

Older posts

© 2017 The Art of Writing

Theme by Anders NorenUp ↑