The WoMentoring Project

WoMentoring Project (1)

 

Back in January, when I was feeling really gung ho about my writing I entered a gazillion different things in order to move my writing career forward. I applied for a ‘Date With An Agent’, I sent short stories off to women’s magazines, and I even threw together a brief synopsis and one chapter submission for a Mills and Boon competition. (Even though I’m not really a mills and boon kinda writer), needless to say I didn’t get anywhere.

Oh woe is me, as they say, I’m such a crap writer, I will never get anywhere, my prose must be pathetic so I may as well start thinking about whether I can put myself through this again and again. Rejection is pretty hard to take, and I guess I was being a bit of a wimp thinking I couldn’t hack it.

What I really needed was some advice, a big giant kick up the backside and to get on with it again.

I took a few weeks off writing my current wip, and went back to an old one, trying to polish it up some more and perhaps send it off again. And then somehow, I found the strength to go back to the present one. I have no idea really what prompted me, except a belief that what I am writing is worth something. I do believe in it. I was just having a few duvet days, well possibly a month of duvet days.

So I went back, dusted it off and started again, editing mainly, switching bits around, and taking a good long look at the thing. The story is there, but it needs pulling together, polishing, really working hard at it to make it brilliant. But I needed guidance. I wanted someone else to have a good read over it, make suggestions etc. You know it all; another pair of eyes or two.

And then…

And then I opened an email during the week, and an application that I had made in January came good.

I had applied to be mentored through The WoMentoring Project, and had done my homework and sent my submission off to an editor called Sophie Orme.

womentoring

The reason I had applied to Sophie was as obvious as the nose on my face. She is an editor who has worked with lots of successful authors, including Kate Morton.

Kate Morton!

Hero worship now!

I loved ‘The Lake House’.

The lake house

I aspire to write books which are epic love stories, or rich, deep woven tales with dual time-lines, a fascinating historical back story, a mystery or a puzzle to solve.

I read books by authors like Jojo Moyes, Dianah Jefferies, Iona Grey and of course Kate Morton.

Choosing Sophie Orme as a mentor was a no-brainer. I need her technical experience and her thought processes and her wisdom, to tease out my story into a wonderful tale full of romance, tragic deaths, love letters and ghosts. Sophie seems to enjoy the same types of books as I do, and I hoped more than anything that she would see something she liked in my writing.

I was absolutely thrilled to receive the reply this week that she has accepted my application. I am so grateful for this opportunity.

Thank you Sophie.

If you haven’t heard of The WoMentoring Project before, I will put up a post about it soon. In the meantime, click on the link HERE.

 

 

 

Word problem!

PANTSTER-ORPANSTER-

The more I wrote the previous post on plotting and pantstering, the more confused I became about the spelling. I have checked several sources online, urban dictionary has gone with two T’s, but when others have used it in blog posts etc, it is with one T.

Or, since it is a sort of made up word, is the second one better? The more I say it, the more the second one sounds correct.

Is it PANTSTER as in, writing by the seat of my pants?

Which looks very clunky and clumsy.

Or PANSTER?

It should be the first one surely?

Any opinion?

One T or two T’s?

 

Plotter, pantster, or something else?

Plotter (2)

 

If you are a serious writer, which I must be as I bought a pack of coloured biros, and serious writers need them, you will have worked out whether you are a plotter or a pantster.

Actually, you might not have worked it out, but you surely have come across those terms by now. Plotters plot, and pantsters pant. Well no, pantsters just have a germ of an idea, some great characters and then they see what happens when they let them loose.

Plotters spend ages and ages and ages buying lots of pretty stationary, (remember the coloured biros), and little notecards or post-its, or use Scrivener, or print out a beat sheet that works for genre. They spend hours and hours working through their plot, they know their characters inside out, they know what their inciting moment is going to be, they know their lowest point, they know how they are getting from A to B, and then to C, D, E, etc

Pantsters don’t need to do any of that, as long as they know their characters inside out, and the ‘what’ part of their story. Their one line sentence – its about a girl who went in search of her birth mother. Or, its about a man who wanted revenge on an ex-girlfriend. Something. They need to know what their book is about, the setting, the start and the moment it is all going to kick off. Then they can let their characters lead them on the trip of a lifetime.

So long as you know which type of writer you are, all is well with the world. Plotters have confidence in their well thought out plot, and presumably they have read numerous self-help writing books on plotting and beats and the three Act story/film/play.

My favourite book on plotting has to be Save The Cat by Blake Snyder. Once read, never forgotten.

Pantsters have confidence in their ability to let their characters lead them. If the plot gets stuck, don’t panic, ask a few ‘what if’ questions, see what gets your creative juices going, and then set off again.

dandelion-761759_1280

Neither way is perfect, both ways you still have to edit, and as we all know a first draft is still just a first draft. Just get it done.

And then there’s me. Neither one nor the other.

I must be that breed betwixt and between a plotter and a pantster; something organic. I shall call myself a PLANSTER.  Do you like that? Organic, plants?

I get these great ideas for a story, or maybe just a scene arrives in my head, probably sparked off by something I’ve seen, or read about and I have to get it down.

Which is a bit of a pantster I suppose.

But then I do like to try plotting out where I think I’m going. I like coloured biros, I like coordinated note cards and post-it notes, I like the cork board thingy on Scrivener and I’ve read Save The Cat.

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I like to take my idea. Find my characters. Get a notebook and start scrawling everything down, and then I start to plot. Generally with physical bits of paper and card, strewn all over the table. Actually no, laid out in lines across the table, with Act 1, on the first card. Then I move along until I get to the end of the row and I label it ‘inciting moment’. Generally I know what is happening here. The rest of the row is a blank.

Second row is the same. Act 2, all the way across to the last card which is the turning point. Generally I have this scene in my head, and I write it down.The rest of the row might have a few notes, but generally blank.

Third row, exactly the same, blank, blank, blankety blank, all the way across to the last card which is the lowest point. I definitely know what happens here, the scene has rolled out in my brain so many times I could get an Oscar for it.

Last row, I tend to know a lot of what is happening, mostly. I know the last scene, (the opposite of the first scene to keep it balanced), I’ve thought of plenty of plot twists and loose ends and all sorts of things that will have to go into this bit.

But here’s the thing. There’s an awful lot of blanks in this book when I am plotting. A lot.

So I have plotted the basic framework. I know what the book is about. I know my characters, I have  interviewed them, made up a mood board, collected photographs etc for inspiration. I have my setting, and I have my major scenes written, (in my head).  But I just haven’t got completely from A to b to C etc. More like jumping on the tube and going straight to the last station.

I am a PLANSTER.

My story grows in my head as I think about it. Over the weeks and months it takes to write the book, scenes pop up in my brain, and I write them down. I do not write in a linear fashion, in a straight line. I go where I am led. When I get inspired I write it down quick.  It grows organically.

Ideas come to me the more time I spend on the project, and as I get more and more scenes written, more and more naturally lead to the next part. But I have no problem writing the story backwards, forwards, missing bits out and coming back. It works for me.

Its like someone throws a bit more Baby Bio, or organic compost on this tiny little plant, and then it just mushrooms, growing roots, branches, flowers and fruit as it develops.

The plant supports are there, its firm structure is there, it just grows to fill its space.

I know the ‘what’ of the book. But the little bits will arrive, bit by bit.

So, what sort of writer are you?

Plotter, a pantster or … an organic, let it grow as you go, plantser?

 

The Other Side of the Wall – by Andrea Mara – Book Review

Now, it could be entirely true that I am biased when writing a gushing book review for Andrea Mara’s debut psychological thriller, we are in the same creative writing group; but, I was thoroughly engrossed in the book and believe you will be too.

In her gripping debut, The Other Side of the Wall, Andrea has managed to weave a tale of suburban terror that creeps up on you so slowly, builds, then throws you off in a way you never expected. You hardly know what’s coming next, it’s like taking a roller coaster ride, blindfolded.

The opening pages are about Sylvia, a young working mother, who is up in the night and more than a bit sleep deprived. She thinks she sees the body of a child in the pond next door. But by the time she gets downstairs and outside to investigate, the body, if in fact it was ever there, has vanished. Is she seeing things? Is she stressed from her demanding job and a new baby? Did it actually happen, because if it did, who was the child and who murdered her?

As a reader you make all kind of assumptions about where the story is going to lead you, who is essentially ‘good’, and who is the ‘baddie’, but don’t make assumptions about anything. The twists and turns of this debut novel will have you glued to the book, and if you actually do guess correctly about the why’s and wherefore’s about the child (or not) in the pond, then you are far cleverer than I am.

But stop trying to guess. Just enjoy the book, and let it scare you just a little bit more. And remember to lock your door at night!

Well done Andrea Mara on an amazing debut, and I look forward with interest to her next novel sometime in the future.