How to write a Drabble by Sue Dawes.

In July, three of my Drabbles will be published in an on-line e-zine called Specklit (http://specklit.com).  They are taxing, yet fun to write and really hone your editing skills.

So what is a Drabble? 

It’s a hundred word story- exactly 100 words in my case. The form is very popular in the Science Fiction genre but the subject can be anything you like.

Where did the term come from?

The term was first coined in Monty Python’s, Big Red Book. ‘Drabble’ was described as a word game in which the first contestant to complete a novel was the winner.  When the game was transferred from the page to the real world, it was decided that 100 words was sufficient in order to play.

What are the rules of a Drabble?

“Rules

'One hundred words' must be EXACTLY one hundred words: not a syllable more, not a letter less.  In addition, up to fifteen words (title, sub-titles and the like) are allowed.  Hyphenated-words-are-argued-about.” David B Wake.

Source: http://www.meades.org/drabble.html

Tips

Even though the story is only 100 words, it needs structure.  Like a Haiku, the best Drabbles have a twist at the end.  The best way to approach writing a Drabble is to write a longer story, with the usual beginning, middle and end and pare it down (with a cleaver rather than a filleting knife).  And finally, invest in (or bookmark) a thesaurus.  It will help you to reduce your word count and yet allow you to say so much more.

Story ideas

1               Take a fairy tale and a childhood game and combine them.

2               Write about an object that does something it isn’t supposed to.

3               Use the idea that you are running out of time (apocalypse/race to the moon/hunger games etc)

4               Start with a ‘do not disturb sign’ and disturb them.

5               Pick three random words from the novel you are reading and use this as a prompt.

Achieving authenticity

All writers need to do research. We're often told to 'only write what you know', but clearly there will be times when this is impossible. For instance, did Hilary Mantel ever actually meet Thomas Cromwell? Did Thomas Harris ever commit cannibalism? Did Tolkein live in Middle Earth and commune with elves, wizards and hobbits? I think not!

And therefore the committed and conscientious writer must undertake a great deal of research, a lot of which will never reach the pages of the novel, but will ensure that we don't make ridiculously inaccurate statements. Because, funnily enough, it's not being right that matters. It's not being wrong!

So I asked crime writer, probation officer and all round knowledgeable guy, Michael Craven, to give us the low-down on some aspects of research that may well help you not to seem an idiot. It's already given me some food for thought for my work-in-progress Washed in the Blood, which deals with this very thing.

Bodies Found In Water

by Mike Craven

This short article is designed to give crime writers a few facts about bodies found in water. Of course, some of these may not fit in with your plot or theme and that’s fine. Some writers want every fact to be correct but most of us simply want to get it right when there is nothing to be gained by getting wrong.

So here are a few facts that are useful to know about a corpse being found in water when it comes to plotting your novel or short story. In no particular order they are:

•                Bodies found floating in water will ALWAYS be lying face down with the head hanging. There are often post-mortem injuries to the head because of this as the body is buffeted against things in the water. Normally, pathologists can easily distinguish between ante and post-mortem injuries due to the presence or lack of blood. However, as the head hangs down in the water, blood congests there and post-mortem injuries will also bleed.

•                Typical signs found when a body has been immersed in water include anserina cutis (goose bumps), where skin has swelled and wrinkled, and adipocere which is the transformation of the fatty layer in the skin to a soap-like substance. Depending on the water temperature this last process can take months.

•                A body in water will normally sink as the specific gravity (SG) of the body is similar to water. Having sunk to the bottom, putrefaction commences and this will eventually lower the SG, causing the body to rise. Attached weight (heavy clothing, weights etc) may delay the body rising but will not normally be enough to stop it altogether. In cold water, putrefaction is delayed so the body will not rise as quickly as it would in warmer water. In water that remains very cold all year round the body may never rise.

•                Medically, a pathologist will not be able to prove the cause of death was drowning. There are some pathological changes that are characteristic of drowning but they also occur in other deaths (heart failure, drug overdoses, and for crime writers, head injuries). A diagnosis of drowning is largely done by excluding other deaths.

•                There are suggestive indicators which can help with diagnosing whether the body was alive or dead when it entered the water.

1.   Large quantities of water in the stomach indicate the body was alive when it entered the water. If water is not present or present but in small quantities it suggests that death occurred before the body entered the water.

2.   Hands gripping foreign materials. Struggling victims may clutch at anything they can. Evidence may be found during examination (fingernails etc). Occasionally something happens called cadaveric spasm, essentially the body goes into rigor mortis instantly. Anything the hand was holding at the time could well still be held there. This would suggest that the victim was alive when they entered the water.

•                For writers wanting some technical details that may emerge from a post-mortem when the cause of death was drowning, the following would be typical:

3.   A fine white foam may be seen coming out of the airways (mouth and nostrils). If it is wiped off, pressure from the lungs will force it to reappear. This indicates that the body was alive when it entered the water. Unfortunately, this foam also occurs in cardiac victims, drug overdoses and head trauma.

4.   Damage to the middle ear, typically a blue/purple discolouration of the bone of the mastoid air cells. However, this also occurs in electrocution, head injuries and some forms of suffocation.

5.   Shoulder girdle bruises. People struggling against drowning often rupture muscles in the shoulder girdle, chest and neck. This may only occur in 10% of drownings and is not conclusive.

•                For crime writers, it is very rare for a murderer to kill his victim by drowning. This would normally require the murderer to be substantially stronger than the victim or for the victim to be incapacitated somehow (i.e. drunk or unconscious). Far more common is a body being disposed of in water and a drowning to be staged.

To summarise, pathologists and the police have certain reliable pointers that suggest whether the victim was alive or dead when they entered the water. It is difficult to stage the pathological changes that occur during drowning and it is unlikely anyone could successfully kill someone and then fake their drowning. However, the difficulty for fiction writers is that drowning cannot be definitively proved during post-mortem. There are indicators but they also occur in other deaths, making it very difficult to differentiate whether someone drowned or died from other causes, a heart attack for example. 

The author of this guest post is Michael Craven. Michael was short-listed for 2013 Debut Dagger. You can follow his very useful blog at www.criminaljusticewriters.com.

How to get your story on a short-list

I thought I’d share some of the things I have learned, which have helped put my stories both on competition short-lists, and made them winners.  Think of it as a check list before you send your story off.

So you think you’ve finished?

• ·         Before sending your entry off, always read your story out loud or even better get someone else to read it out for you.  This is the only way to discover how smoothly your story flows and to get rid of all the clichés.
• ·         Print your story out in an annoying font .  Sometimes we can be fooled into thinking our story is polished simply because it looks nice on the page.
• ·         Pare down your adjectives and adverbs, especially words like suddenly. 
• ·         Ask yourself:  Does your story have a consistent point of view?  Who is telling the story and are they still telling it at the end? 
• ·         Make sure your story has a reason for existing : What does it say? What have we learnt about the character or the situation?
• ·         Give your story a proper ‘end’ or resolution.  If the story starts with the character standing over a dead dog, there must be a reason for it, and this reason must drive the story.  Your closing paragraph should ideally repeat the theme in your first.
• ·         Makes sure your opening line is the best it can be.  Don’t start with backstory.  Sometimes it is worth deleting the whole of your first paragraph to get there.

Some great first lines:

"Like most people I lived for a long time with my mother and father.  My father liked to watch the wrestling, my mother liked to wrestle:it didn't matter what.  She was in the white corner and that was that." Oranges are not the Only Fruit by Jeanette Winterson.

"All this happened, more or less."  Slaughterhouse Five by Kurt Vonnegut

"I think of Louis as a decorative essential.' The Space Between Louis and Me by Mary O'Donnell.

"What if I'd never poisoned my neighbours dog when I was ten?" Butterfly Wings Raw Eggs and What Ifs by Tracey Iceton.

"I cut my boyfriend in half; it was what we both wanted. I said we could double our time together. He said he could be twice as productive." Don't try this at Home by Angela Readman.

• ·         A really unusual title will get your story noticed (but will not get you short-listed by itself). 
• ·         Finally don’t forget your presentation.  Usually 12 point Times New Roman (or Arial), and double spaced.  But always check the rules as science fiction often requires stories to be typed in Courier.  Flaunt these rules and your story will find the quickest route to the judge’s bin.

For other ideas (and more in-depth advice), these blogs are very good:   

http://writetodone.com/seven-ways-win-short-story-contest

http://bloodredpencil.blogspot.co.uk/2013/02/three-dynamic-ways-to-open-your-story.html

Writing for different genres- how do you do it?

If you're a writer - or, for that matter, a reader - you'll have noticed that different genres have noticeably different conventions with regard to such things as writing styles, degree of pace, suspension and so on. Even use of language can differ, for instance you wouldn't expect Ian Rankin or Michael Connolly to write in the same way as Philippa Gregory or Hilary Mantel. Mind you, people like PD James and John le Carre do manage to write literary works while at the same time sitting in the crime and/or spy sections of bookshops and libraries, but they're both a bit special.


So I thought I'd ask a writer who regularly swaps between crime novels and thrillers. Do they use the same conventions? See what the experienced writer, Adrian Magson, has to say about it.

WRITING CRIME NOVELS OR THRILLERS - what's the difference?

by Adrian Magson.

As far as headings go, probably not much. They should both thrill, but to differing degrees.

Readers like to know what they’re getting. As do agents and publishers. Call a book a crime or mystery and they know exactly where to place it, mentally and physically. Romance, sci-fi, fantasy… all those are obvious. Labels help them target books to the appropriate audience (although oddly enough, in one chain bookstore, many thrillers are found in General Fiction).

But as a writer, I have to approach them with a plan in mind. And for me that plan involves pace.

Take my Inspector Lucas Rocco (crime series). Set in rural Picardie, France, in the 1960s. It’s been called a police procedural, but I have to admit it’s light on the procedure. And that’s deliberate. The French police structure is more complex than ours, but going too deep into that would have taken up too much of the story. And Lucas Rocco is not really a rules and regulations animal; as a former gang-buster from Paris, he’ll abide by them where he has to, but solving crimes is what he’s good at and lies at the heart of each story.

Rocco, often accompanied by Claude Lamotte, the local garde champetre (rural cop), or Desmoulins, a fellow detective, is not always chasing crims in dark corners. He’s more likely to be out looking for clues, or straying off-territory to hunt down contacts and sources of information (often in Paris, his former base), or mixing with unsavoury types trying to unpick the relationship between suspects or others, all the time trying to stay below the radar of the all-embracing Ministry of the Interior.

The Ministry is vast and controls all aspects of police life. To Rocco, the men in grey suits merely get in the way, especially when so many of his cases seem to involve an arm of the government. Then there’s his immediate boss, Commissaire Massin, with whom he has history both of them would like to forget. These twin aspects of Rocco’s professional life – and his problems adjusting to life in a small village, and the quirky locals - allow me to inject conflict alongside the troubles and dangers he faces each day, whether that’s from violent criminals, would-be presidential assassins or bombs left by former Resistance members.

Rural it might be in Picardie; quiet it isn’t.

The pace here lies in the unravelling of the story as he chases down the villains, and this invariably picks up and becomes more tangible as we get into the investigation.


And then there's my protagonist Harry Tate (spy thriller series). This has pace in its DNA. I know from the start of each book that I have to keep the story moving. This means more action, more threat – and a faster movement of characters and events.

As a former soldier and MI5 officer, who was nearly terminated by a rogue boss (‘Red Station’), Harry works as a contractor for the intelligence services and others. He’s ‘carded’ (licenced to carry a weapon), and his world is one of spies, traitors, rogue military types and foreign intelligence hit teams. He has a colleague, Rik Ferris, who provides the technical aspect of surveillance, digging out secrets and occasionally hacking into areas he shouldn’t.

Harry isn’t a super-agent type, but more a solid, effective counter-intelligence worker who gets things done. He’s ready to travel anywhere, and frequently does, so his field is international (which is also fun to research and write).

I was asked last year by the Harry Tate publishers to write another series character, and have just turned in ‘The Watchman’ (due out in February), which is still in the contemporary thriller world, but darker in tone. It was something I wanted to try, to see if I could deliver. (The publishers and my agent – and my wife, Ann, who is my beta reader – love it, so the signs so far are good). Portman, the main character, is a sort of unseen bodyguard for spies, and therefore has to be ruthless in his outlook to protect his charges. The setting is on the Somali/Kenyan border and involves terrorists and pirates.

I enjoy switching between the two genres types, and consciously wear a different mental hat for each one. Once that hat is on, I’m in the zone and ready to go.

The main thing is, I enjoy what I do, whatever the genre, and hope that comes out in the writing.

********

Adrian Magson - magsona@btinternet.com

Website: http:www.adrianmagson.com

Blog: http://adrianmagson.blogspot.co.uk

Inspector Lucas Rocco series published by Allison & Busby

Harry Tate series published by Severn House 

Bio: Adrian Magson is the author of 15 crime/thriller novels and many short stories and articles. His latest novels are ‘Execution’ (Severn House – May 2013), 5th in the Harry Tate spy series, and ‘Death at the Clos du Lac’ (Allison &Busby), 4th in the Inspector Lucas Rocco series. A regular reviewer for Shots Magazine, he writes the ‘Beginners’ and ‘New Author’ pages for Writing Magazine, and is the author of ‘Write On! - The Writer’s Help Book’ (Accent Press).

Thinking of self publishing?

So you've decided to go it alone. The next question is, print book or e-book? Well, Philippa has talked about her experiences of using print-on-demand services. And this may well be the way you want to go (there's no reason why you can't do both). But I chose to take the route of self-publishing on line.

The first thing you will need is a cover. It's important that this cover is one that will still look good reduced to a thumbprint, one that will stand out and mark your novel as professional. And I'm afraid that, for that, you will have to pay. The company I used was called 2h Design Consultancy www.nedof2h.net and the guy I dealt with was Ned Hoste. It was pricey, but the service was excellent. It didn't take more than a few days before six options were winging their way to me. The one I chose wasn't exactly one of the ones he sent, but had elements from several incorporated into the final result. I recommend them.

           
Now I'm no technophobe, and I guess I thought I would find the next part easy. I'd spent quite a bit of time on-line, investigating sites which gave you information on how to do it yourself, sites which offered to do it for you (for a fee) and sites which promoted themselves as e-publishers, and had gathered a considerable amount of information. Well it wasn't as easy as I thought it was going to be. For a start I was a bit bewildered by the information on the type of formatting that was required. It seemed that different e-book sellers required different formats, and so just reading the instructions put out by Amazon for Kindle would only go so far. And I didn't want to limit my market to just one seller. So in the end I chose the company that seemed to have the strongest reputation, which was Bookbaby.

Were they helpful? Well, yes and no. They claim that you can just send them a Word document and they will do the rest. So I sent them a Word document, along with the fee (which isn't extortionate). Not so fast. Apparently, I discovered, although this was indeed a Word doc., it had the wrong formatting. Well, I had thought (and to be honest, I still do think) that putting in the correct formatting was what I was paying them to do. Now I was lost. It wasn't that I couldn't understand what was needed. It was that I couldn't work out how to take out all the formatting I'd put in.

So, and I totally advise this to anyone who is struggling with technology, I went to a geek forum, and I asked the question. As it happened I'd been chatting on this forum for a while, ever since I developed my own website, and so I wasn't just a newbie asking for favours. That can get right up people's noses. And there I found a Good Samaritan who DID IT FOR ME! She even reformatted the book correctly and said it only took her about twenty minutes.(Of course I now needed to learn to do it myself, and when I've mastered it I'll post the details).

Once it was in the correct format, the new, smart cover attached, I re-sent it to Bookbaby and soon it was on all the e-book retailers' lists.

Wow! Now everybody's flocking to buy it, yes? Well, er, no, actually. Because here's the rub. Whether you choose to self-publish through print on demand, or through e-sellers, the marketing and publicity is all down to you. It can feel really heady initially, when friends and acquaintances are reading it, they're recommending it to their friends, you're getting some fab reviews on Amazon. Philippa even got her book taken up by a reading group. But once that's over, you need to be thinking of how to get your book out there, and noticed (and bought and read, obviously). So how?

Well, the standard response is: Social Media. Of which there are many forms. I'll have a look at them, and what's worked for me, in the next post, but let me tell you this much: it's a long, slow haul.

Guest Spot: What an editor can offer, by E.V. Seymour

Congratulations! You’ve written your novel. In the process you’ve expended blood, sweat and tears and enough energy to power the Grid for a month. Your other half has read it and so have your friends. They all declare it a brilliant creation, so much so that you think you should simply send it out to a few chosen agents, sit back and wait for the phone to ring. What could possibly go wrong? Answer: quite a lot.

The problem is one of objectivity. Naturally, those who care about you and want you to succeed are going to pull their punches. (They’ve seen you sweat for the past year or so, remember.) For example, are they honestly going to point out that your main character is a weed; your story has the pace of a sick snail; your police procedure/research is, ahem, ‘unresearched,’ or your climactic scene lacks conflict and tension? Of course not! The more discerning of your mates may say something like: ‘I really loved that scene in the nightclub/in the empty house/in the burning building.’ They might even be bold enough to say: ‘I’m not sure I got why X did Y.’ Even if they pinpoint a problem, they are unlikely to be able to help you fix it. This is where people like me come in.

It’s extremely rare for a novel to tick all the boxes without a little intervention. The mundane truth is that editors encounter the same flaws time and time again. Simply put, my job involves identifying weak areas, flagging these up and offering suggestions for improvement. Weak areas can range from poor spelling and grammar, and repetition of the same word in a paragraph – I’ve twice suggested literacy courses – poor plot structure where the narrative is skimmed and scenes aren’t fully dramatised – a series of company meetings doesn’t constitute a story – to main protagonists who couldn’t cross the road without help, let alone sort out a bad guy. My pet hate is split point of view. I once encountered four different viewpoints in a single paragraph. It was the literary equivalent of watching a doubles match of ping-pong.

My skills don’t simply lie in picking up on these little idiosyncrasies. Somehow, I have to get the message across in the kindest manner possible. I find humour helps and I really endeavour to tailor the report to the individual. Psychology plays an important role. I want to inspire not crush and it’s sometimes hard to tell a writer, who has rightly set such store by his or her work, that certain elements are not working as well as they might. Occasionally, I’ll receive a piece of work and quickly realise that crime fiction isn’t really the genre that best showcases a writer’s talent. Suggesting to a wannabe crime author that their strengths lie in writing historical fiction can be a delicate business. I’ve noticed recently that constructive criticism is especially difficult to get across to clients who have had sparkling careers in other fields. Once or twice, I’ve been on the business end of a writer’s wrath, which is unpleasant for me, but a disaster for him or her. Believe it or not, and in common with a good agent, editors are batting for the writer. As a published writer myself, I know only too well what it’s like to receive rejection. I understand how damaging it can be to one’s self-esteem, how it eats away, if you let it. With this in mind, how can I not be on your side?

Crime fiction is one of the most competitive genres. With the seismic changes in the publishing industry over the past ten years, it’s harder than ever to break in. Cutting to the chase, it can cost in terms of time, mental stamina, occasionally relationships, and money. And here’s the rub.

In times of recession it may seem madness to spend your hard earned cash on professional advice. The alternative is to risk rejection from a dozen or more agents and have your confidence shattered; or self-publish, receive poor sales and rubbish reviews from armchair critics and, erm… have your confidence shattered! Too often writers seek help after the proverbial horse has careered out onto the road and hit a bus. Why put yourself through the misery when, with a little tweaking, rewriting and polishing, you can produce a piece of work of which you can be justly proud?

One final point: there are a lot of rookie outfits offering ‘professional expertise’. It pays to check these out and discover exactly what you are going to get for your money. Find out whether an editorial consultancy has a close relationship with agents. Will that editorial consultancy scout and recommend? In the past two years, I’ve seen three of my ‘babies’ obtain representation. As someone who once used the services of an editorial consultancy a decade ago, I can say, hand on heart, that it was the best decision I ever made. Soon afterwards, I obtained an agent.

E.V. Seymour is the author of five published novels. Under a closely guarded pseudonym, her sixth novel is published in August 2013 with Cutting Edge Press.
Find her novels at:
E.V. Seymour

The Middle bit by Philippa

Writing the book was fun and the book launch exciting, but the middle bit was hard and knowing what to do with the 67,000 or so words I’d written was tricky. I knew I wanted family and friends to read them at the very least and had a sense I wanted to see and feel a physical book. I scoured the Writer’s Handbook 2011 for ideas on publishers and agents not really knowing what I needed, when along came the Good Housekeeping Novel Competition. My novel seemed to fit their criteria so I bravely sent off the first 5,000 words, full synopsis, 100 word mini biography and entry form. Even doing that felt an achievement but needless to say I didn’t win. The exercise was useful and made me polish up format and presentation and gave me a deadline.

     After just a pang of disappointment when results were announced I sent off similar packs to half a dozen publishers and agents with little or no response. I decided I had to use the ‘who you know’ system and sent off a pack to a publisher who used a friend’s printing company for all their work. They were kind in their reply but it wasn’t their genre of inspirational, self help and health writing. I did try to say my story was inspirational and had a fair bit of medical stuff in it but they didn’t buy that. I’d already realised I had to make an individualised pitch to each publisher or agent to have any hope at all.

     One particular agent gave me a reply that was so negative I couldn’t even talk about it for weeks. He thought the story had been a good exercise but was full of beginner’s mistakes and needed to be consigned to a drawer. Eventually I took it out of that drawer and decided to fight back, replying to each criticism and defending my characters – by this stage I loved and knew them well. Sometime later I received a letter saying he’d had the manuscript read by an agent’s reader and a copy of their report was included. It pointed out mistakes and errors which I accepted – too much ‘telling’ and not enough ‘showing’ (that old chestnut), too easy resolution of conflict, not enough conflict in the second half etc. but the negative comments were nicely balanced by a few positive ones, just as a good teacher would do, and I found a little hope returned to my soul.

     That letter made me brave enough to approach Wivenbooks, the publishing arm of Wivenhoe Bookshop which publishes one or two choice authors, but also supports a print-on-demand facility for a few others willing to pay. Things really got moving and Catherine Dodds designed my lovely front cover and Ginny Waters got me an ISBN number and registered the details with Nielsens data for books. Wivenbooks suggested  names of possible editors and Jane Olorenshaw did a copy-edit for a further fee. Copy-editing was surprisingly good fun with e-mails bouncing back and forth – at my request the main aim was SPAG and continuity rather than content and that kept the fee down. Once we were happy Catherine sent the document off to Lightening Source and I was delighted with the proof print of the book. We pressed the button and ordered 100 copies. I have now done 4 print runs (the 5 day delivery time is excellent) and I’m exploring e-publishing.

     Novel number 2 is in it’s infancy and having learned a lot from novel number 1 I feel just a little better prepared.

Tips:-

Consider options – competitions, publisher, agent, self publishing, e-publishing.

Assess costs and keep an account.

Talk to everyone and anyone with contacts or experience.

Be patient.

Get an editor – copy-edit at the very least.

Be prepared for knock backs but stay positive.