You will find advice here to help you on your writing journey. Use the search bar to find some of the insights and shortcuts we use to fast track our writers.
It's a first person 'bystander' narrative concerning a mysterious acquaintance, replete with puzzled admiration, with rumours as clues on the trail of charisma. By charisma - I mean the sound of a life better lived in another room.
The allure of 'personality'.
It's a youthful form, an age-defying treatment. After all, it's a youthful idea that personality can succeed.
“If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity of the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away." (Scott Fitzgerald on Jay Gatsby.)
As one ages, one comes to see that if there is such a thing as personality, it fails. We let it drop, and accept the rump of commonality with humility. Apart from a few odd traits, we are not so...
The ailment of overwriting afflicts most first drafts. It is the writer's common cold. If you have been multiply rejected by literary agents, I can almost guarantee you suffer from this illness. Your writing obscured the story. You have probably sent out your work too soon.
You must treat your manuscript for this sickness before you share the novel with anyone. The advice which follows is to be taken lightly by those writing a first draft. You've got to get the material down by any means necessary and forgive it on first draft. But those on second draft and beyond should seize this advice firmly.
If you're writing a rollicking good yarn, a plot-driven story, then you won't want overwriting to detract from 'what next'. A chapter advances the character's problem inexorably.
Overwriting is a handbrake turn, or a slow tedious slide back down the hill. The reader-passenger is slamming their foot on their imaginary gas pedal,...
Once upon a time, you told yourself you couldn't write a novel. "I’m too old, too young, too stupid, too clever, too reclusive, too sociable, too lazy, too busy... I’m nervous.”
That's the first thing a writer says to me when they take the plunge and commit to writing a novel. But a whole raft of other unkind self-doubts above lurk right behind that word 'nervous'.
When you open the door and come into The Novelry, it's all rather jolly, warm, unpretentious and friendly and so very do-able. The work you have to do is bite-sized daily. Take a look at our online novel writing courses and you'll see what I mean!
"Give me your tired, your poor, Your huddled masses yearning to breathe free..." (Emma Lazarus.)
The recipe for confidence at The Novelry is fast-acting. We salute you from the moment you arrive. You are welcomed with warmth by our members, because they know full well it's a big step, and that...
With the sad news of the death of the orginal Firestarter himself, it is to Keith Flint we dedicate these offerings.
We have had a bumper crop of first chapter entries to this year’s competition, a great turnout at the polling station, and here are some sneak previews of the range of writing currently on fire at The Novelry.
A hapless estate agent is unwittingly touched by the beauty of nature in the first chapter of Alex Ireson’s ripe and robust comedic novel 'Above & Beyond.' 'And then the magic happens. The orange light of the dying sun hits the cottage.’ One misadventure leads to another in this rollicking darkly comedic tale.
A big-hearted period novel from Romla Ryan, in which loyal Lyle provides support to 'The Antics of Atticus Ashworth' for a fast-paced, ribald romp. Atticus Ashworth loves women and his gentle appreciation brings warmth to the first chapter which opens on ‘dying embers from the...
Plumbers take apprenticeships. So why do writers imagine they can learn their craft without taking one? That's effectively what we offer writers when you join The Novelry, a working, practical apprenticeship to your mentor the author Louise Dean. You learn on the job.
Serious writers study the works of the great fiction writers, the way painters copy the old masters. Part of our method at The Novelry is to encourage working novelists to read and re-read a 'hero book' during the course of writing their first draft. First for the story, then for the technique and to abide with this one book during the writing of a first draft as a training frame. The act of faith, abiding with it, is good discipline in itself for sticking with the novel, but when you read a masterful novel, it reveals itself to you in layers which you will only perceive after many readings.
This week's blog post comes from our member, Viv Rich, who inspired by our...
This week's Member's Story comes from Walter Smith from Alabama.
'Props' to him - a new word he has taught me. See story for details...
There is a silver bowl in a box around here somewhere that I received in eighth grade for winning a fiction award. I keep it in case I become strapped for funds and need to melt it, though I suspect it may be silver-plated, not sterling. The award bore the name of a writer named Conrad Richter, and the presenters were thoughtful enough to include a copy of one of his books inscribed by his daughter offering best wishes and prosperity, the usual pap. To be truthful, I thought little of the book. It involved American Indians and frontiersmen as I recall, something they erroneously thought might intrigue a pubescent male. Sort of Hawthorne-lite, but lacking wonderful names like Natty Bumppo and the imprimatur of countless freshman English syllabi.
One story published in a regional magazine. It told the inspirational tale of my...
The value of revision becomes manifestly abundant over the course of our very intense weeks on retreat at The Novelry, with writers taking prose through rounds of work towards a shining, tight truth by the end of our time together.
At the Full English course, I began the week with a lesson on 'Glamour' - and how what is concealed up front in your novel will of necessity be revealed. We begin our story by showing that to all appearances all's well but the veneer conceals a lie. It's the nature of THE LIE which is at the heart of your story, and it's the chipping away at it, the revelatory process which drives the plot. If you're a writer in search of an idea, start with a big lie.
We looked at how with The Great Gatsby it was Scott Fitzgerald's intention from the start to establish a veneer of glamour in his prose and story. He had his eyes on the big lie - the American Dream - which he foresaw as doomed.
I told my writers how Hunter S...
We are delighted to announce that The Novelry has won 2 of the 7 categories for Best Online Creative Writing Courses as judged by the formidable John Fox aka The Book Fox.
Winner - Best Course for Writing Your Novel
Winner - Best Course for Editing Your Novel
"I’ve gone through all 100 video lessons and loved it — and you can get extra personalized feedback from Louise Dean herself (both over Skype and through written feedback)." John Fox.
Join us and achieve your writing ambitions! Take a look at our online creative writing courses.
This week's story comes from Bec Davidson who joined us this month to write her novel at last.
A decade ago, a dark cloak of loneliness settled over me with an effortless familiarity. I was adjusting to a new life living as an expatriate in Hong Kong. My unwanted solitude became an ‘enabler’ to my long-standing reading addiction. Closeness to the equator meant short days and long nights. My darkened hours became punctuated with Austen, McGregor, Fitzgerald, Ballard, Orwell, Huxley, Greene and many more of the literary greats. The characters became my friends and I became immersed in my new companions’ lives.
I read until the starlight faded, and the first smudges of light darted through my bedroom window. Only in the singular beat, before the milky dawn eclipsed the neon-lighted sky, would sleep pull me away.
Gruelling rounds of infertility treatment led me down a depressive pathway. A sadness quickly planted...
I love a good edit. I love how close that word is to tidy.
Here's how my novel seems to me to be after the first draft.
Here's how I like to think of my manuscript after The Big Edit at second draft:
The second draft is light years ahead of the first - it is organized as a story.
The story has drama! Light and shade. A villain with a purpose and a stumbling heroine or hero. A theme - as in something I am going to damn well prove to be true. This should be there at first draft, and it was, but it was crummy. Now it's looking like I mean business. The layering of rewriting fattens the chapters and their content should hit the reader with impact, images and ideas, forthright pronouncements, deceit, conflict, lies, desires are regulated in the second draft to propel the heroine towards facing her mortal condition, and working out how to use the time she has here on this earth.
Thanks to a dose of Sophocles' Theban Plays and...