THE ROUND TABLE

The Ten Line-edits I Most Often Suggest

Whether you're getting to grips with a wild NaNoWriMo first draft, or have seized the time between Christmas and New Year to do some hardcore editing, the chances are you've come across certain things that you always do not-quite-right that first time: the things you have to hunt out and interrogate. Note that I don't say "hunt out and eliminate". There's no "mistake" in writing that wouldn't be the perfect thing in the right place and time, for the right book - but some things are more common and more commonly mistaken, than others, and these are the ten line-edit... Read more →


All the posts I mentioned at York Festival of Writing

I'm home from the York Festival of Writing and the dust is settling. As ever, it was a wonderful weekend put together by Jericho Writers, full of writers of fiction and non-fiction at every stage, from beginners to multi-best-sellers and - always one of the highlights - a reunion of several dozen of Debi Alper's and my lovely graduates from the online Self-Editing Your Novel course, including one of the keynote speakers, million-selling Cathy Bramley, and one of the exciting debuts of last year, Amanda Berriman. Old friend Ruth Ware was another keynote speaker and I devoured her The Death... Read more →


Overcoming the Social Media Fear

I know that many aspiring writers who happily read blogs or belong to writing forums are nonetheless very wary of the more dynamic forms of social media: Facebook, Twitter, Instagram, Tumblr, Pinterest and all the others. Which wouldn't matter, except that it is genuinely harder and harder to make any kind of way as a writer without doing some of this stuff - not least because publishers will be wary of a writer who is invisible in social media terms. But the good news is that it's perfectly possible to have a useful presence out there. So to that end... Read more →


Switching From One to More than One Point-of-View in Your Story?

A few weeks ago, I got an email from a writer, Philippa East, who did our online course in Self-Editing Your Novel (We'll have 300 graduates, by the time the current course has finished. Could you be our 301st?) Hi Emma - I'm wondering if you have any blogs or can recommend any articles on revising a novel to change it from single POV to a dual POV structure? I understand the basics of writing in multiple POVs, but I'm looking for any help with actually tackling this kind of serious rewrite. Currently I sort of know what I have... Read more →


"Cut All the Adjectives & Adverbs". Why it's Nonsense, and When it Isn't

Cut all the adjectives & adverbs" is right up there with "Show, don't Tell", as one of the first "rules" that new writers get told, and for similar reasons. And although it's perhaps responsible for more bland, threadbare writing than almost any other phenomenon except the ghost of Hemingway, it's not entirely nonsense either, any more than Hemingway is. The truth is, writing would be impossible if we couldn't use adjectives, adverbs and adverbial and adjectival phrases. But although you'll never get me to say that you "should" cut them, there is a whiff of good writerly sense somewhere at... Read more →


How To Handle Feedback On Your Writing

I've blogged more than once about how to give feedback, but most writers get feedback even more than they give it, since as well as workshop friends, you'll get it from teachers, agents, editors, reviewers, friends and family. Here, I'm going to refer to them all as "the reader", because that's what we hope a feeder-back will be: a representative of the readers we're hoping for. Obviously the setup varies. Some settings are "live": a Skype session with a mentor, round a workshop table, at a one-to-one book doctor session, in virtual workshop on your online course. Some are written... Read more →


Events Round-up: Salons, (Not) Darwin & More

The fact that I'm online in a hotel bar perched above a staggeringly beautiful gorge in North Mexico is not something I'm typing just to make you jealous. I've squeezed in a few days away (photography, poetry, walking, trains ... my usual stuff) while I'm really here for work. But it's made me realise that it's been a while since I posted about what I'm up to in the next few months, so here goes. I don't know how many readers of This Itch of Writing live in or around Mexico City - although it never ceases to astonish me... Read more →


Mastering the tyranno-thesaurus

Among teachers of English at school-level, using a thesaurus is a Good Thing, being a means of enlarging children's vocabulary. But a ticked box for the maximum number of different words on the page is a poor substitute for teaching genuinely good writing, so among serious writers, and teachers of writing, using a thesaurus is often spoken of as a Very Bad Thing. And when you consider the thesaursed version of "Twinkle, Twinkle, Little Star", which floats round the internet attributed to John Raymond Carson, you can see why: Scintillate, scintillate, globule vivific, Fain would I fathom thy nature specific.... Read more →


Lady Macbeth and rubber duckies; how much do you need to explain?

A couple of weeks ago I went to see the new film Lady Macbeth. The performances are marvellous, the direction remarkable - especially for a first feature - and costumes and settings are beautiful in a terrifyingly austere way. But I also noticed an aspect of the script which is extremely relevant to writing fiction and creative non-fiction, or anything else story-shaped. In neither script nor image does Lady Macbeth give you almost any backstory or side-story (my term, but you know what I mean), for any character or situation. We learn almost nothing beyond the edges of what we... Read more →


What is a non-linear narrative, and should my story be one?

Once upon a time, there were only stories which were about a single person, and they started at the beginning, proceeded by way of a middle stretch of causally linked events, through to the end. Then someone invented the word "meanwhile", and it became possible to tell a story in which that chain of events was partly formed or changed by what was happening or had happened to someone else and in a different place; the story began to step sideways, so as to draw this new set of causal relationships into the main chain of cause-and-effect. As readers and... Read more →


"No tears in the writer, no tears in the reader": True or false? Plus choirboy syndrome

So, the poet Robert Frost said, "no tears in the writer, no tears in the reader". This, I think, we usually take as being about writers having to be willing to feel what they want their readers to feel. Indeed, although Wordsworth, in his Preface to the Lyrical Ballads, famously describes poetry's origin as "emotion recollected in tranquillity", he goes on to say the emotion is contemplated till, by a species of reaction, the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the... Read more →


Is using semi-colons pretentious?

To add a little spice to the season of goodwill, may I propose that anyone who shouts at you that it's pretentious to use semi-colons in fictional prose is, themselves, being pretentious? As I was saying in Picked up a Bad Book? Think about it at as a Good One, if you want to widen as well as improve your craft it's good practice to assume that professional writers have good reasons for doing what appears to you to be a bad thing - and then ask yourself what that good reason might be. As my favourite handy punctuation site... Read more →


Should I do a Creative Writing MA?

I've blogged about whether, and when, a course in Creative Writing might be a good idea, and about how to choose the right one for you. And if you're wondering whether, and how, Creative Writing can be taught, this unpicks that hardy perennial of a question. But a quick search on the UCAS website shows 459 Masters-level courses in Creative Writing. True, part-time and full-time versions of the same course are being listed separately, but the darned things cost a fortune these days (though student loans are these days available for both part- and full-time study). So, assuming you're thinking... Read more →


My story is far too long. What do I do?

A writer recently howled on a forum that his novel was far too long: it was 180,000 words when people were saying that no agent will look at a book over 90,000. He did sense that there were things to cut, but didn't know where to begin. And how on earth was he to get it down to half the length - lose every other word, effectively - and still have a novel, not a blood-sodden mess? There are an awful lot of writers who have faced up to this problem, but actually it's two relatively separate problems: what length... Read more →


All the posts I mentioned at London Writers Café on Showing & Telling

The London Writers' Café is a longstanding group of fiction writers which holds all sorts of workshops, one-day retreats and critique events, and last Saturday I was asked to give a two-hour workshop on Showing & Telling. As ever, I mentioned several blog-posts, and I promised to round up the links and post them here, and a few others. I've missed one, or there's some other topic that you'd find useful, do say in the comments, and if I've got a post about it I'll dig it up. Andrew Stanton's TED talk on storytelling WordsAway evening Salons for Writers, at... Read more →


The Fiction Editor's Pharmacopoeia; diagnosing symptoms & treating the disease

The Society for Editors and Proof-readers is and does exactly what it says on the tin (and if you're thinking of self-publishing, it would be a very good place to start looking for proper professional help.) So I was delighted to be asked to speak to their Editing Fiction conference, exploring and explaining the decisions that we writers make, so that in tackling writing where the decisions aren't producing a good result, writers and editors can have a common language. As I was discussing in my post about giving feedback, it's one thing to recognise a problematic symptom: over-writing, say,... Read more →


Giving feedback: how to do it, how to make it really useful

I blogged a few years back about how to process feedback, but the funny thing is that many writers find giving feedback more difficult than receiving it. Often, they're some of the nicest people: they're worried about hurting their fellow thin-skinned writers' feelings and know that hurting their confidence can be be genuinely damaging. Sometimes they're some of the most self-centred people: they can't be bothered to put in the mental work to understand what another writer is trying to do, and can only "correct" in terms of how they'd do it themselves. I've also given general tips about how... Read more →


Get Started in Writing Historical Fiction is published on 10th March

I'm ridiculously thrilled to have my author's copies of Get Started in Writing Historical Fiction sitting on my desk. It really does embody all the things I find myself saying when I'm teaching workshops and blogging, not just about historical fiction but writing fiction and creative non-fiction in general. Whether you're new to writing of any kind and have just fallen in love with a person or a period and can't rest till you've had a shot at bringing it to life on paper, or you're an experienced writer who's always loved reading historical fiction but have never dared to... Read more →


"Amaris has to tell Baz stuff but the scene is wooden"

This question popped up recently on a forum: "I've just reached a point in my WIP where two characters get together after a while apart and one has to tell the other what's been happening. It's important stuff. I haven't found it easy, but I never find it easy to write the 'telly' stuff - particularly the links between the telling and the rest of the scene that is happening around them. Anybody have any words of wisdom?" There were some good responses, and I found mine developing into a blog post, so here we are. So if Amaris has... Read more →


Does worrying about technique and "the rules" restrict a writer's creativity?

I've blogged before about why what are called "rules" about writing are really tools, and why all the things you're told you "shouldn't" do in writing are sometimes exactly what you should do. I've exploded (comparatively speaking) with fury about why the "cut everything with was in it" idea is actively damaging as well as wrong-headed, and I've talked about how much it helps to approach different drafts in a different spirit. But the question at the top of this post is a perfectly fair question - and one which a blog-reader asked me the other day: It is these... Read more →