Why write YA? Author Julie Hearn explains why writing for young adults matters to her

Some years ago, I came across an amazing book. It was written for a younger readership but like many books in that genre it pulled no punches when dealing with challenging, even poignant issues. At the same time it was packed with wit, energy and a kind of magical sprightliness I found immensely appealing. The book was Follow Me Down and its author was Julie Hearn.

I met Julie herself years later: we were both teaching on Oxford University's International Creative Writing Summer School. It was a joy to make friends with a writer who was as much fun and as charged with imaginative energy as the book she'd written. I'm delighted that Julie will be teaching a day course on writing teen fiction as part of my autumn programme of Fictionfire events: she's a truly inspiring teacher with so much knowledge of the craft and the industry to impart. I've asked her over to Literascribe to describe how she came to write in the YA genre and why it matters to her. Over to Julie -

“Why did you start writing Young Adult fiction?”

I get asked this a lot.

Firstly, I was tired of writing for adults. Aged thirty, I was a journalist, writing a mother and baby column for The Daily Star. Aged forty I was at Oxford University, writing about maternal power and witch-hunts in Early Modern England, for a MSt in Women’s Studies. I  felt – and still feel – a wicked sense of satisfaction over that shift but, aged forty-one, the thought of writing more stuff requiring footnotes appealed about as much as the thought of writing more dross for the tabloids.

I needed another shift.

Secondly, the story idea that hooked me so completely that it got into my dreams seemed tailor-made for  the Young Adult market (for readers aged eleven to seventeen, or thereabouts) I had found it in the Bodleian Library’s collection of  printed ephemera: an eighteenth century handbill, about a young girl being shown as a “monster” at Bartholomew Fair.

The Changeling Child

To be seen next door to the Black Raven in West Smithfield, during the time of Bartholomew Fair, a living skeleton taken from a Turkish Vessel. This is a Fairy Child supposed to be born of Hungarian parents but changed in the nursing. Aged nine years or more, not exceeding a foot and a half high, the legs, thighs and arms so very small that they scarce exceed the bigness of a man's thumb and the face no bigger than the palm of one's hand and seems so grave and solid as if it were threescore years old. You may see the whole anatomy of its body by setting it against the sun. It never speaks. It has no teeth but is the most hungry creature in the world, eating more victuals than the stoutest man in England. Gives great satisfaction to all that ever did, or shall, behold it.

I wanted to give this Changeling Child the happy ending she surely did not have in real life. I wanted to address issues of abuse, and difference, and love and loyalty without cynicism or the rueful wisdom of an adult author addressing adult readers.

I camped out in the Bodleian, researching Bartholomew Fair and eighteenth- century London. I read about the surgeons at  St Bartholomew’s  Hospital who dissected corpses as often, and as cheerfully, as they might have cut up a chop for supper. I read about the grave robbers who supplied those corpses, charging extra for anything “unusual”. My young protagonist, I decided, was going to be a time traveller who would meet the Changeling Child and uncover a plot that could see her dead before her time, and under the knife of my hard-hearted dissectionist, Dr Flint.

Writing Follow Me Down was like sliding down a rainbow – a giddy, exhilarating swoop towards – what? I didn’t know. I didn’t wonder, much, about the publication process. It was enough, back then, to be making things up, with no worries about libel actions or plagiarism!

Follow Me Down went to auction. It was translated into French, Italian, German, Spanish and Japanese. It was shortlisted for the Branford Boase Award and nominated for the CILIP Carnegie Medal. It paid for my kitchen extension and a holiday in Antigua.

Julie Hearn

Best of all it sent me on a writing journey that has been challenging, rewarding and never, ever dull. I care about this kind of  writing. I care about my readers and, while mindful of what author Madeleine L’Engle said - “…the best children’s books ask questions, and make the reader ask questions. And every new question is going to disturb someone’s universe.” – I am careful about the way I frame a question for impressionable young minds.

I care about my characters.

“How old is the protagonist in Follow Me Down?” I was asked, a while ago, during a radio interview.

“Tom’s fifteen,” I replied. And then I realised: “No … sorry… he’s twelve. In the book, I mean. He’s fifteen  now.”

The interviewer gave me a look that said “Are you mad?”

When I tell that story to other YA writers they smile, and nod. They absolutely get it. They, too, have worked so hard to create characters “real” teenagers will recognise, and bond with, that should those characters knock at the door one day they would not turn a hair.

They, too have slid down a few rainbows in their time.

It is great, great fun.  

The Next Big Thing in Teen Fiction - Could You Be the One to Write It? 

Day course in Oxford, 19th November 2016

Are you keen to write or develop your fiction for teens or young adults? Julie Hearn, who has published seven acclaimed novels including Follow Me Down, The Merrybegot and Rowan the Strange, will help you develop your storytelling techniques, including crucial aspects such as openings, character and voice, plot and pace. You'll learn about the young adult genre and what's hot in the current market, maximising your chances of success with your submission. With discussion and writing exercises during the course, you'll leave with increased confidence, enhanced skills and the courage to make your pitch.

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The course runs from 9.45-5.00 and includes all refreshments and a delicious lunch.

For full details and how to book, visit www.fictionfire.co.uk/course-dates-&-details 

Other Fictionfire workshops are listed here and the next Simply Write Retreat is here.

Contact info@fictionfire.co.uk if you have any questions.

Reaping a creative harvest: interview with new author Paul Cranwell

This week I'm delighted to interview Paul Cranwell, author of A Material Harvest. I've known Paul for a number of years and he and his wife have attended quite a few of my Fictionfire workshops, so it's a particular pleasure to see him finish his novel and bring it out into the world. In this interview, Paul discusses what he's learned from creative writing courses, what inspired him to write the novel and the publishing choices he made.

Welcome to Literascribe, Paul!

Hi, Lorna. Thank you very much for inviting me to your blog interview.

We first met at the Winchester Writers’ Festival – can you tell us about what made you want to get your writing career off the ground and what part courses, workshops and conferences such as Winchester and Swanwick have played in helping you on the way?

Although I enjoyed writing in my youth, my wife, Mary, has always been a keen writer. Eight years ago she saw an advert for a writing weekend at Farncombe, sadly now closed as an adult learning centre. The course was run by Crysse Morrison, the first of several inspiring creative writing tutors that we have been fortunate to meet. Not having written creatively during my professional career, the weekend was a revelation. For the next four years we were avid consumers of writing courses. Those courses taught me the basics of creative writing and encouraged me to lean the craft of writing. I supplemented the courses by reading the required reading lists for the masters’ degree in Creative Writing that several universities publish on the internet. Amongst the various courses and conferences, we attended a number of workshops. The opportunity to practice writing and learn from others is important. Fictionfire is a good case in point. The chance to consider a particular facet of writing and to put it into practice is invaluable. We are also members of an excellent writing group, Stratford Scribes, facilitated by Cathy Whittaker. Fictionfire provided the inspiration for a number of fictional pieces that formed part of my masters’ degree. Without these courses I would never have written anything.  

You have been involved in the organisation of the Swanwick Summer School – what advice can you offer to writers thinking of attending such events to make the best of their experience there?

Swanwick is the longest running independent writers’ conference. For a week every summer the school runs a packed programme of writing courses and entertainment. The timetable runs every day from 8.00 a.m. to midnight and can be exhausting. So, the best advice is to select the courses you want to attend and not feel that you have to go to everything. The school attracts writers with every level of experience from complete novices to those authors with over a hundred published titles to their name. The quiet surroundings and friendly environment give you the opportunity to mix with fellow writers and to learn from them. In terms of conferences generally, one piece of advice that may help is to read the tutor biographies. Some of the best courses I have been to have not been in genres I would normally relate to, but have been taken by inspirational tutors.

You’ve also completed a creative writing degree at Brookes University, Oxford – can you say in what ways this complemented or added to what you’d learned about writing elsewhere?

I wanted to take a professional approach to learning the skill of creative writing. In my view Stephen King was absolutely right when he said that, “with practice and hard work, it is possible for a competent writer to become a good writer.” Studying for a masters’ degree in creative writing was a logical next step in that process. The course at Oxford Brookes is a practical one, based on assessing published authors’ work and learning from them. It has made me read with a more critical eye to identify which techniques work and which don’t and, more importantly, why. I should also say that the chance to immerse myself completely in writing for a year was wonderful – a real privilege.  

How important is it for a writer to network with other writers?

Networking is such an important way of learning about new trends and developments in writing. The world of publishing, in particular, is changing fast and readers are becoming more demanding in the way that fiction is delivered to them. For instance, writing for audio books was once an arcane activity with limited application, but with the advent of downloads for mobile phones, people listen to stories as they exercise or travel to work. That in turn shapes the length and type of fiction they want. Without networking it is impossible to keep up with these developments. It is also important to realise that you are not alone. I’m very fortunate that my wife is also a writer. Without her my writing life could easily become a lonely one.

Your partner, Mary, is also a writer – how important has it been for you to have one another to provide mutual support or a sounding board/giver of feedback? Are you writing very different types of work? Are you different or similar in your writing practices?

I am lucky to be married to Mary. She is a talented writer and editor. Whilst completing my novel, to have someone of her skill to help me with both the structural edit and the copy edit was invaluable. Having a shared pursuit gives us both an understanding of the demands that writing imposes. We have very different writing interests and different strengths. Mary has a Carveresque style: a penetrating understanding of character and dialogue that I can only aspire to. She also loves memoir. For my part my novel is a thriller, but I also enjoy writing humour and poetry. We are also different in how we structure our writing day. Mary can write all day for a few weeks, but I find I am better at writing in shorter bursts over a longer period.

Tell me about your newly-published book, A Material Harvest. What is it about? What led you to write it?

A Material Harvest is about Michael Turner, a senior banker with Scottish Imperial Bank. He is at the pinnacle of his personal and professional career. Michael disappears after his mother’s funeral. At Scottish Imperial Bank, files for one of his most important clients are also missing. His colleague and friend, Alex Shepherd, takes charge of the Bank's investigation. He follows a dangerous and complex trail to find Michael and uncover the truth.

My professional career was in finance and corporate banking and I wanted to explore that world in my writing. Having an understanding of the financial world made it easier for me to write it than might otherwise have been the case. I wanted in particular to look at the reasons why there are so many examples of fraud and misconduct in banking. I started the novel as the major project on my masters’ degree and was fortunate to have feedback from Oxford Brookes along the way.

Luck plays a part in these things. The story deals in part with non-disclosed companies and offshore funds. The recent events in Panama with Mossack Fonseca, have led me to believe that there is scope for a sequel.

 

You chose to write under the pseudonym of Paul Cranwell. What was the logic for doing so?

I write in a wide range of poetry and prose forms and in a number of different genres. From a presentational point of view, it makes sense to identify one genre with one brand. In this case Paul Cranwell is the name I will use for thrillers. If I publish my humorous stories or poetry, I shall do so under a different name. More prosaically I like the name Cranwell

How long did the novel take to write? Were any aspects of its composition particularly easy or tricky?

The idea was conceived during Christmas 2013 and the book was first published in March this year. As a project it took just over two years. However, I took a break between writing the first draft and undertaking the edit. It took about eight months to write the first draft and then six months to edit. The easiest parts to write were those scenes that I could readily identify with. The hardest, conversely, were those that required an understanding of character that only came as I completed the book. As a result, there were parts of the book that were rewritten during the edit, including the ending.

Tell me about the route you took to publication – what governed your choices and what advice do you have for other writers on this?

I listened to all the advice about publishing on the various courses I’ve been on. I very early realised that, for me at least, there were two possible options. If I wanted to attract a mainstream publisher, and possibly to make some money, then I would need to write a commercially oriented book. That wasn’t my objective. I simply wanted to write the best book I was capable of writing; to enjoy the process; and learn as much about writing and publishing as possible along the way. The only way to do that was to set up my own publishing company and have full editorial control over the book.

The novel has a beautiful and striking cover – would you like to tell us what choices were made and why? Did you employ a cover designer?

My sister-in-law runs a website design business and has been involved in graphic design as well as publishing. She was the first person to read my completed novel and I asked her if she would design the cover. She selected a range of images that represented the story. The moment I saw the image that we ended up using, I knew it was right for A Material Harvest. The coastal location picks up some of the key moments in the novel and the unsettled sky reflects the tone of the book. Brenda also did the typesetting for me, something I would have struggled to do for myself.

  

Are you working on a new project now?

I have three projects that I’m working on. I have a collection of connected humorous stories that I would like to expand; my aunt’s memoirs – she was one of the last missionaries in China and India; and a sequel to A Material Harvest.

What three writing/publishing/marketing tips can you offer would-be writers?

• Write because you enjoy it.
• Only aim for a mainstream publisher if you want to target the mass market, otherwise self-publish.
• Make sure you have comprehensive distribution agreements through the printing option you choose. 

Thanks very much, Paul! I wish you every success with A Material Harvest and your future projects. 

A Material Harvest is published by Speart House Publishing, ISBN 97819113230200099.

Buying links: 

Amazon

Kobo

Barnes & Noble 

Indiebound

Booksamillion

Politics-prose

I'll finish with a quick reminder that Fictionfireby the Spires: Get into Character weekend workshop/retreat takes place May 21-22 2016. You can come for the full weekend or on a single day basis. Four workshops will help you create and develop believable and engaging characters, there's delicious food throughout and you'll have time for your own writing too. Find out more at http://www.fictionfire.co.uk/fictionfire-by-the-spires - places are very limited.

Before then, two Saturday afternoon workshops in May:

How to Write Short Stories: May 7^th

How to Edit your Submission: May 14^th – details of these are at http://www.fictionfire.co.uk/focus-workshops 

Fictionfire - new directions for spring

What have you been up to lately? I ask because I haven't spoken to you for a while on this blog!

The truth is - and I think you'll recognise this - it's so easy to be pulled in multiple directions. It's also easy to see the days flitting past (and they flit faster, I swear, with every passing year.)

I hope 2016 is panning out well for you. Personally, I feel a blink of the eye has happened since I was drawing up my plans back in December.

I aimed to run more Fictionfire Focus Workshops and Retreats and I've done precisely that. The Simply Write Day Retreat and workshops on writing covering letters and synopses, plus how to improve your descriptive powers, all took place in February and March.

I've also been editing and mentoring - and am delighted to have been named by writing guru K.M. Weiland one of the top recommended fiction editors around: https://www.helpingwritersbecomeauthors.com/good-book-editor/  

But early in the year, I made the decision that this was the year to take my business to a new level, in a new direction. If you're regular readers, then you'll know that I started Fictionfire Literary Consultancy back in 2009 as a sideline to my main work as an English Literature teacher. I gave up conventional teaching in 2012 in order to concentrate on Fictionfire, apart from teaching gigs on behalf of Oxford University and the University of Winchester.

So, I lead a multi-stranded life (and one, thin, often-overlooked strand is my own writing ...)

You wouldn't think I'd want to take on more, would you?

Wrong.

I've been working hard over the past months on a whole new strand to weave into the Fictionfire tapestry. I'm not saying more about it right now, except to tell you that if you're interested in finding out about it before anybody else, I recommend you subscribe to my mailing list on the welcome page of my website here, because I'll be telling subscribers first and offering them ...

Ssh...

All good things come to those who wait.

In the meantime you can join me in Oxford for the final Focus Workshops of the season: How to Write Short Stories on May 7th and How to Edit your Sample Submission on May 14th. Find out more on the Focus Workshops page of the website.

Or if you'd value some peaceful time to write, some great food, friendly support and inspiration, plus four invaluable workshops on creating and adding depth to your characters, then come along to the second Fictionfire by the Spires retreat weekend. The dates are 21st-22nd May 2016. You can opt to come for the full weekend or on a single day basis. Find out all about the workshop contents and the schedule for the weekend by visiting the Fictionfire by the Spires page on my website.

Remember, sign up for my newsletter at www.fictionfire.co.uk for news, articles, inspiration, exercises and competition news. Oh, and advance notice of that new thing I was talking about ...

Publishing and Publicity Insights from the Society of Authors AGM

Last week I attended the Society of Authors AGM in London. (As with all these events, it was a great way to meet up with writing friends as well!) After Philip Pullman welcomed us all, the Society presented its plans for a new updated more user-friendly website, before holding a panel discussion. Publishing expert Alison Baverstock chaired it and the panel members were Ian Skillicorn of Corazon Books, who also runs the National Short Story Week in the UK, Gordon Wise of the Curtis Brown agency and Nigel Wilcockson, a publishing director of Penguin Random House. They each presented very lucid and entertaining insights into the publishing industry and the author’s role within it, so I thought I’d share some of those insights – and leave it to you to decide whether you agree or disagree!

Authors are constantly challenged to find the time to write – and to absorb potential material to inspire their writing. Alison Baverstock said that ‘reading is the engine of being able to write.’ So true. Nigel Wilcockson referred us to the nothing-new-under-the-sun aspect of this writing malarkey. How can we maintain creative integrity and still respond to the commercial terms of our industry? He quoted George Gissing in New Grub Street, in 1891: ‘You have to be true to yourself. You cannot write something you do not believe in.’ Well, you can, really. People do it all the time.

Writers are constantly adjured to write the book that’s true to them, the story they believe in, heart and soul. So, they go ahead and write that book. Publishers then encourage them to understand the market, and may well turn their work down because of market concerns – Nigel said, rather quellingly, ‘Never assume that quality will out.’ Cue many audience members wincing.

If we understand our market, we pitch our work to better effect. If that work is then bought and published, we still need to pitch it to the wider public. This has to be done properly: Alison said ‘There is a massive difference between getting attention and getting approval.’ There’s no point in using Twitter, Facebook, Instagram or any other social media, if all you do is holler ‘Buy my book, buy my book!’ We need to establish conversations and relationships – but doing this takes up more of the precious time and psychic energy the creation of further work demands.

How to strike the balance? How can we get people to listen to us? ‘In a very noisy universe, you have to make your own noise as well,’ Nigel says. Gordon talks of social media usage as ‘drops into the pond’ – ripples go out from that drop. He says that author and publisher are ‘business partners’, that ‘it’s pushing water uphill to get any exposure’ and that if your genre is in trouble, you should have a serious conversation with your agent and maybe consider changing your name.

I’ve talked about this in the past, this industry obsession with the new and untried. Untried means hasn’t failed. Yet. So, if you’re the kind of writer who needs to be nurtured over the course of several books, or if you want to switch genre, you may be in trouble. The pressure is on to hit the ground running and stay running on the same track. If not, change your identity. I find this such a depressing, defeatist way to go about things. Even the great J.K. Rowling has to write as another person, even after we know it’s really her – and as another male personage, at that. The shelves are full of thrillers with initials rather than first names …. Well, that’s a whole other blogpost.

Ian Skillicorn sensibly pointed out that authors don’t just need to compete for attention with other writers but with all the ways potential readers now spend their free time, in this always-on digital age.

Practical advice? Have a web presence, definitely. If you’re using social media, perhaps concentrate on one or two rather than the scattergun effect of trying to use all. I concentrate on Facebook, but have a Twitter presence and a Pinterest account. I’m not yet on Instagram though it seems to be becoming more popular.

Be clear with your publisher when it comes to the terms of your contract. This includes knowing which rights they will exploit. Bring your book to the publisher in as ‘edited’ a state as possible. Know your market. Fill out your author questionnaire with useful information including possible publicity opportunities.

Publicity needs to come early and be properly planned. No good approaching a magazine in the month before your book comes out when its lead time is more like six months.

Be focussed. Know where your book would sit in the bookstore. Know who your potential readers are: ‘It’s not always about having the biggest splash, it’s about being targeted,’ says Ian Skillicorn.

Timely reminder: ‘It’s a business, writing.’ (Nigel Wilcockson)

Uplifting thought: ‘There are more creators than ever, more opportunities than ever. You can find a niche for your books that you couldn’t have had before.’ (Ian Skillicorn)

Two-edged thought of the day: Alison Baverstock reminded us that we don’t necessarily need validation by publishing – ‘Some of the happiest writers I’ve met haven’t published.’

I’ll leave you to mull over that one!

The Society of Authors website is here and how to join is here.

To find out about Fictionfire Focus Workshops pop over to the website.

Do please sign up for my Fictionfire Newsletter on the website – news, articles, links, recommended reads, tips and exercises for writers.

Summer schools, festivals and retreats, Fictionfire by the Spires and new workshops

Fictionfire by the Sea retreat
Saturday dinner at the Porthgwidden Cafe

It's been a while since I posted on Literascribe, mea culpa. So much has happened in the meantime, some of it good, some of it really not! I had joyous times teaching creative writing, first of all at my Fictionfire by the Sea retreat in St Ives in Cornwall, back in April. The best group of writers attended - we shared stories, advice, laughs, gasps at the beauty of the location. I stayed on for a few days after the weekend was over, to get back in touch with my own writing. That was pretty much the last time I felt relaxed! Read on, and you'll find out why.

Giving my talk on self-editing
(thanks to Debbie Young for the photo)

In June I taught for my fifteenth year at the University of Winchester's Writers' Festival - I gave a talk on editing and a day course on character building. It's always lovely to go there and meet again friends and fellow writers again - there's a real reunion feeling about it, but also the chance to make new friends. The plenary speech this year was given by Sebastian Faulkes - a very polished performance.

In the garden of Exeter College -
reception before final dinner

In July and August I taught on two summer school programmes for Oxford University. The first of these is OUSSA, held at Rewley House. I've been teaching on that programme since 2002 and always enjoy it, though it is very intense! Then, over the course of three weeks, I taught advanced fiction writing at the OUDCE creative writing summer school, for the third year. This is held at Exeter College, which is such a beautiful location. I got held up one day because they were filming the new series of Endeavour in the front quad - with the wonderful Roger Allam and Shaun Evans. When I've run Fictionfire day courses at Trinity College, we've coincided with the filming of Lewis - Oxford is always full of film crews!

with fellow tutor Julie Hearn

So, hard work, great company, good fun, fantastic stories being written!

Now for the bad news ...

It was also a summer of delays, distraction, exhaustion and frustration - and I'm still not quite out of the woods yet. I'm not going to go into detail because I can't bear to dwell on it anymore, but since June we've been embroiled in renovation of two rooms in our house after a long-term water leak caused significant damage. The leak had been there for months, perhaps years, so entailed drilling up floors, letting walls and floors dry out, stripping the rooms back, replastering, refitting, decorating etc, etc, etc. Next week, we hope to sign off on the whole process - but believe me my stress levels have been through the roof.

Also raising my blood pressure was my Fictionfire website, which was to be 'migrated' to new software in August. A process which should have taken three weeks took seven and is still ongoing. The site is at least live now and I can take bookings, but for several weeks I could update neither it nor my online shop. I have just discovered I don't have a mailing list sign-up box anymore - argh! So, it's a work in progress ...

Looking ahead, in spite of the website woes, you can now visit the site and book places on the new series of Focus Workshops and Fictionfire by the Spires: Reboot and Troubleshoot, a writers' workshop/retreat weekend here in Oxford from 7-8 November.

The first Focus Workshop will be Breathtaking Thrills on October 24th - if you want to learn how to create tension, excitement and suspense in your fiction, this is the one for you. It's followed by Layers of Meaning on November 21st, Share and Support on November 28th and Does Happiness Write White? on December 5th.

Take a look at the website for full details. There are currently only 5 places left for Fictionfire by the Spires: Reboot and Troubleshoot, so don't wait too long!

Writing Inspiration in the Far West: Liz Carr guest-posts about Cornwall, creativity and her cottage, An Dyji

Zelah Studio,
looking out over St Ives Bay
(photo courtesy of
Lynda Davies)

My lovely writing friend Liz Carr guest-posts about what Cornwall means to her and about her cottage, An Dyji, which she bought and renovated as a holiday let and a haven of creativity. Those of us who visit and love Cornwall will understand full well the appeal she describes here!

I discovered Cornwall when I was a child on summer holidays. Learning to body surf on Fistral beach, eating gritty cheese sandwiches, drinking soup which was either scalding hot or barely tepid from a wide-necked Thermos: these are some of my earliest memories.

As an adult, I returned to the county – and specifically St Ives – thanks to my closest friend, who so generously shared her lovely house with me and other worn-out London refugees. Zelah Studio, standing above Porthgwidden beach, will be our venue for Fictionfire by the Sea, thanks again to Lynda’s vision of her house as a place of creativity.

The Merry Maidens

The layers of Cornwall’s history fascinate me: almost hidden from modern view stand mysterious worked pieces of monumental stone – remnants of its origins as an ancient and sacred place, separate from the rest of the country. Its magical quality hooked me early on. It was very easy to imagine piskies and other spirit creatures darting in and out of the great stones of Men an Tol or dancing among the Merry Maidens. It’s still easy for me to narrow my eyes and see mermaids swimming round St Piran’s rock, luring unwary fishermen into their underwater secrets.

In the eighteenth and nineteenth centuries, Cornwall’s copper and tin mining industries overlaid the landscape. Now the ruins of mine chimneys, engine houses and lichen-coloured iron workings are visible on the skyline.

And today the far west has another life: as a sought-after destination for artists, writers and holidaymakers who come to enjoy the wonderful light, clean sweeps of pale sand and a turquoise sea that looks as though it belongs in the Caribbean.

In January 2014 we found ourselves able to invest in a small stone-built cottage just outside St Ives. At first sight, things weren’t too good. The house hadn’t been touched for about thirty years, and it definitely needed some TLC. But we knew it could be so different.

An Dyji

After just two months, An Dyji was reborn as a cosy two-bedroom cottage, ready for visitors. The name means ‘the small house’ in Cornish, which was its nickname throughout the works. We love being there: it’s tucked away in a hundred acres of woodland, but is only six minutes from the sea.

It’s the perfect place if you want to relax, recharge and rediscover your creativity. There’s something about being away from home that helps you to leave stuff behind and free your mind. Sighing: this is what happens to us the day after arriving. The combined effects of clean air, sparkling light and an ever-changing seascape cause muscles to unclench and jaws to unlock. The place gets in your bones and before long, you’re thinking about a new project or looking at your existing work with fresh eyes.

An Dyji

So, why not join us for a weekend exploring spirit of place, the spirit that the far west of Cornwall gives us? The programme is a unique blend of inspirational taught workshops and quiet writing time. We’ll be working with a group of like-minded people, and I’m looking forward to meeting Ann Kelley, an award-winning author who’s based locally. It’s going to be a fruitful two days, but for me the most important aspect is precious space and time.

Who knows what might happen?

You can find out more about An Dyji and book accommodation there, whether you're attending Fictionfire by the Sea or not, at www.stivesretreat.co.uk 

Fictionfire by the Sea Writers' Workshop and Retreat, 17-19 October 2014 in St Ives - details here. Bookings close on 15 October.

If you can't make it to Cornwall, Fictionfire Focus Workshops in Oxford, Oct - Dec 2014 are here.

Guest-speaker at Fictionfire by the Sea is Ann Kelley - see my post here.

(All photographs, except where noted, copyright Lorna Fergusson)

Writing the spirit of character and place: Ann Kelley guests at Fictionfire by the Sea

Ann Kelley

I’m delighted that award winning novelist Ann Kelley is going to join us during my Fictionfire by the Sea Writers’ Workshop and Retreat in less than two weeks. I first met Ann a few years ago, during one of my visits to St Ives and she kindly invited me to her gorgeous clifftop home overlooking Porthkidney sands and the Hayle estuary. It’s a stunning location, though not without its hazards – up there Ann has survived floods, a landslide, a lightning strike and part of their roof blowing away!

Ann is the sort of person who’s naturally gifted both with empathy and with an incredible sensitivity to location. Her house was full of quirky, unusual and beautifully presented objects and artworks. She’s a photographer and poet as well as a novelist, and this can be seen in her eye for composition and selection, for lyrical celebration, for economy, for precise and lovely images.

‘If you lie down and put your ear to the beach, you can hear the surf booming through the sand.’ (The Burying Beetle)

A view like this is worth a landslide or a lightning strike!

She has written three books of poetry and runs poetry workshops. She gave me a copy of The Poetry Remedy and I found it both moving and helpful in a recent period of stress and grief. She’s also written YA fiction – her latest novel, Last Days in Eden, was published in July and her previous teen books are Runners, Koh Tabu and Lost Girls.

However, for me, it’s all about the Gussie books: the series of stories tracing the experiences of a young girl suffering from incipient heart failure – this was inspired by Ann’s own son Nathan, who sadly died after a heart-lung transplant but who seems to have been a most extraordinary person. Gussie is an equally striking character. Her situation is grievous but her spirit is never bowed. She is a creature, quite simply, of joy. She’s cheeky, rebellious, imaginative, often solitary, eccentric. She celebrates life – and this is where Ann’s talent comes into play for she shows us what I suppose we would call ‘mindfulness’ in action. Gussie, aware that her illness may limit her lifespan, doesn’t intend to waste a second. She notices everything from the tiniest insects through to the undercurrents in the adult relationships around her. She’s endlessly curious, not always tactful, but always lovable. You root for her from start to finish. When she gets the chance of an operation with the potential to save her life, you’re willing it all to go smoothly.

When I read the Gussie books, I found her character compelling of course – but I was also seduced by the mesmerising descriptions of location and the fine detail of the natural history in them. In an interview, Ann described the books as ‘a hymn of praise to this place’ – to St Ives and its environs. And I tell you this, these novels get better every time you go back to them!

I hope you’ll join us at Fictionfire by the Sea, from 17^th to 19^th October, for our workshops, for quiet time to write and to hear Ann give a reading and answer our questions about her aims and practices as a writer.

Ann’s website is www.annkelley.co.uk

The Gussie series of novels: The Burying Beetle, shortlisted for the Branford Boase Award; The Bower Bird, winner of the Costa Children’s Book of the Year 2007; Inchworm and A Snail’s Broken Shell.

‘It’s exciting to be here when there’s a strong wind blowing. The rooks look like broken umbrellas or black tattered cloaks, thrown away and tumbled by the gusts. The gale shaves the tops off the waves and sends the spray flying back into the sea.’ (The Burying Beetle)

Come and hear Ann – join us at Fictionfire by the Sea Writers’ Workshop and Retreat 17^th to 19^th October, in a beautiful artists’ studio by the sea in St Ives. Workshops will focus on how to stay true to your writing dreams and how to evoke the spirit of place – but there will be lots of time as well for you to simply write! Full details and how to book are at www.fictionfire.co.uk/page28.htm

Don’t forget my October to December programme of Focus Workshops in Oxford starts this Saturday (11^th October)! Details at www.fictionfire.co.uk/page26.htm

Announcing Fictionfire by the Sea Workshop and Retreat for Writers

Godrevy Lighthouse from St Ives

ANNOUNCING FICTIONFIRE BY THE SEA - WORKSHOP AND RETREAT FOR WRITERS

I hope you’ve had a wonderful summer. Much of mine was spent teaching on creative writing summer schools for Oxford University, but before that we had a lovely holiday in Cornwall. I’ll be heading back to Cornwall next month – and I hope some of you will be too! I’m delighted to announce I’ve not only opened bookings for the autumn/winter season of Focus Workshops, but I’ve also organised a weekend workshop and writing retreat for you in St Ives.

Here are brief details of these upcoming events – visit the website to find out more!

FICTIONFIRE BY THE SEA

Do you dream of a place where you can step back from the real world, where you can take time to think, free from distraction, where you can share the joys and challenges of writing with like-minded souls? I’ve designed my first Fictionfire by the Sea guided workshop retreat for you, in St Ives, Cornwall, from October 17^th to 19^th.

St Ives

There’s nowhere better to be if you’re looking for inspiration. St Ives, with its magical light and atmosphere, its thriving artistic community and its spectacular views, is just the place to feed your spirit with renewed creative energy.

The venue for the weekend will be Zelah Studio, only metres away from Porthgwidden Beach and with great views across St Ives Bay to Godrevy Lighthouse. I’ll be running workshops focussing on how to stay true to your writing dreams and on evoking the spirit of place in your fiction. You’ll also have the time to pursue your own writing projects and I’ll be on hand throughout to give you advice.

Porthgwidden Beach

Local Costa Award-winning novelist Ann Kelley will join us on Sunday 19^th for a reading and Q & A session – her stories evoke an exquisite sense of location.

Accommodation will be available at discounted rates for those who want it, at www.stivesretreat.co.uk

Zelah Studio

Much fuller details of the location, workshop schedule and what’s included are on the Fictionfire by the Sea page on the website: www.fictionfire.co.uk/page28.htm. The aim is for you to recharge your batteries, fill your notebooks with fresh writing, and leave with rediscovered vision and purpose.

Booking for Fictionfire by the Sea is now open – limited numbers of places available – www.fictionfire.co.uk/page28.htm

FOCUS WORKSHOPS October to December

1 Share and Support (October 11^th)

You’re invited to share and discuss your work with other members of the group in a friendly and supportive atmosphere. These Share and Support Workshops are very popular, so do book early!

2 How to Write a Synopsis (October 25^th)

Synopsis-writing = Stress! This workshop will show you how to encapsulate your work while still keeping its power to hook the reader.

3 Paths of Glory (November 8^th)

In this centenary year of the outbreak of World War 1, this is the first of two workshops exploring how writers deal with the subject of conflict – how they explore concepts of honour, how they convey drama and emotion.

4 Aftermath (November 22^nd)

The second of these workshops on the subject of war examines how conflict affects the soldier who survives, the family at home, the nation. We’ll consider honour, victory, defeat, loss and memory.

5 Share and Support (November 29^th)

The second of this season’s Share and Supports – for details, see Workshop 1.

6 Festivities and Frost (December 6^th)

How do writers make use of descriptions of winter and Christmas scenes? What purposes do they have? What effects do they create? Whether you’re ‘Bah, humbug’ or ‘God bless us, everyone’, this workshop will show you the potential of the festive season in fiction.

As usual, all workshop last from 2-5, with servings of tea, coffee and cake. Each costs £30 and there are discounts for booking more than one workshop.

Visit www.fictionfire.co.uk/page26.htm for more details. Booking is now open.

In other news, I’ll be attending the Historical Novel Society’s conference in London this coming weekend. Last month I was so happy to win first prize in Words with Jam magazine’s First Page competition with the opening page of the historical novel I’m working on, so that was a brilliant vote of confidence in the project, spurring me on. Here’s the link: http://www.wordswithjam.co.uk/2014/08/first-page-competition-2014-results.html

Hoping to see you by the sea in Cornwall or at a workshop in Oxford soon!