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Personally, I'm quite happy to describe my novels as women's fiction. To me, women's fiction can be defined as below (with thanks to the author Becca Vnuk), and I'm happy with this. These are the books I enjoy reading as well as writing. And it's not that I think men won't be interested in them, rather that it's less likely:

"The common thread is that the central character is female, and the main thrust of the story is something happening in the life of that woman (as opposed to the overall theme being a romance or a mystery of some sort). Emotions and relationships are the common thread between books that belong in this category. A woman is the star of the story, and her emotional development drives the plot."

And I suppose for me, it distinguishes my fiction from chicklit, which Wikipedia defines as:

Heroine-centered narratives that focus on the trials and tribulations of their individual protagonists. The genre often addresses issues of modern womanhood – from romantic relationships to female friendships to matters in the workplace – in humorous and lighthearted ways.

But some writers feel very strongly about their novels being described as women's fiction.

Take best-selling author Jodi Picoult, for example.

In an interview for the Orlando Sentinel, Picoult said: “I don’t write women’s fiction. What that means is I have lady parts. There is absolutely nothing gendered in my writing. Some books I think of as more male-centric than female-centric. Honestly, when most people talk about women’s fiction, they’re usually talking about a light-and-fluffy beach read. If anyone is describing my books as light and fluffy, you have serious issues.”

Interviewed on Popsugar.com, Taylor Jenkins Reid (The Seven Husbands of Evelyn Hugo) also expresses her dislike of the women's fiction category.

She said, "Anytime I meet someone and they ask me what I do and I say, "I'm an author," and they say, "Oh, what kind of books do you write?" I say, "I write fiction." And they say, "Well, what does that mean?" What I choose to answer is, "I write book club books. I write books that you would read in a book club." What I mean by that is I write commercial fiction that is hopefully accessible to anybody that wants to read it, but they can be thought-provoking and give you something to talk about. But that's a very long answer to a small question, and the short answer is I write women's fiction, and the reason why it's called women's fiction is because we want to make sure, in no uncertain terms, men know "don't read this," which is just absurd.

"We have a society in which woman have learned to read about men and to find interesting things about the inner lives of men, and we have not done that same service for men. We have told men that women in their lives are not interesting to them, that the stakes of domestic fiction is not relevant to them — all of these things are completely untrue. Books about love and family are just as important and can be just as skillfully and beautifully written as books about war. I don't know why, so often, we put such a larger value on the story areas that men are interested in than what women are interested in. I also just don't buy the conceit. I think we just haven't allowed for men to admit when they're interested in these things, to open themselves up to be interested in these things. We've said, time and time again, to men, "What goes on in a woman's mind is not relevant to you." And that's just crazy. What goes on in every man's mind is relevant to me. We exist in the world together. I'm married to a man. The world is full of men. We should be doing that same thing for men. I think we're fixing it slowly. Big Little Lies was such a great example of a story, exclusively about women and about issues that directly affect women, that men watched. They cared. We're at the beginning of it."

(You can read the full interview here).

What do you think of the Women's Fiction book category? Are you happy with it the way I am, or do you agree that we're excluding men by using it? And if we are, is that right? Do, in fact, women's fiction books have something to offer men too?

I'd love to hear your thoughts in the comments!

All for now.

Margaret 

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I recently carried out a survey about women's fiction and the 132 responses made for fascinating reading.

There were the ordinary, useful questions about reading habits and demographic etc, but as a writer, what interested me most were the responses to questions I posed about the nitty-gritty of the writing, because this gave me a real flavour of what makes people read a book compulsively.

One of the questions asked respondents to choose statements about women's fiction they agreed with, and to add some of their own. Many people went on to make some very interesting and insightful suggestions, and I really wanted to share these results with you.

So, to start off with, here are the responses to the statements I provided myself:

It's important that I care what happens to the main character in a book and almost feel as if the events of the story are happening to me. 75.76%

I like to feel extremes of emotion when I'm reading - both happy and sad. 55.3%

When I'm reading, I enjoy being taken to places and experiencing situations I've never experience before. 76.52%

I'm happy for a novel to include an element of magic, or events that might never happen in real life, as long as the author makes me believe in it. 57.58%

A romance of some kind is essential in a book in order for me to enjoy it. 17.42%

I like a book's main character to grow and to learn something during the story. 63.64%

A book must have a happy ending, otherwise I feel cheated. 10.61%

It's not a problem to me if the main character is someone I don't particularly like. 39.39%

I like to feel I have something in common with the main protagonist. 25%

And here are the statements that respondents added themselves - the ingredients and factors that are important to them in a satisfying women's fiction novel.

  • I don't like loose ends, need to know what happened to all characters
  • Furthering women's causes
  • It has to feel realistic and not too cliched.
  • Not too far fetched...
  • Needs to grab you in the first chapter, dialogue is important
  • Well written prose.
  • It doesn't always have to have sex. Geez already.
  • Anything to keep me interested and page turning. A good storyline.
  • Helps me learn or appreciate something new
  • I like some humour
  • If I'm not supposed to like a main character, I need something bad to happen to them.
  • The main character should have some kind of intelligence, I get bored by ditzy girls, they have to be smart or witty or work things out
  • A good beginning that draws me in!
  • A sense of suspending disbelief or of an idealised reality being portrayed- country cottage, independent woman, seaside etc
  • Location. Books,based in a city with a bit of a story about the city interest me.
  • That the supporting characters are also fleshed out and have a story
  • The characters and their responses to situations must be believable.
  • Inner conflict
  • Good quality prose
  • Intelligence. Please expect that I am intelligent and need brain stimulation.
  • I prefer heroines who aren't weak, who can save themselves or others
  • Humor is so essential for me to thoroughly enjoy an MC or supporting characters. A book needs to take me away from the BS of everyday stress, the new and political mumbo jumbo. It needs to be a true, enjoyable or fascinatingly interesting escape!
  • Great characterization and good writing is a key
  • I am discouraged with novels crammed with over detailed descriptions of superficial things
  • Well written with relatable 3-dimensional characters
  • Good writing with realistic dialogue. An element of truth in the theme that I can relate to.
  • Right or wrong, that she be strong 🙂 (#StrongWomenWrite hashtag on Twitter)
  • Needs to be believable, must like the hero or heroine and care about them.
  • The author doesn't insult my intelligence by telling me everything.
  • Expect the unexpected
  • I love to get into the mind of the character - and I like novels with suspense, ie. Gone Girl.  I am more interested in the writing and how the writer creates rich and complicated characters.
  • Words chosen in writing should be easily understood by most people. Grammar is very important.
  • No misogynistic cliches please. I'm so fed up with Women as victims. Women don't need men to rescue them. They don't have to be superhuman - just real!

To sum up, (and this is my interpretation of the results) most people want a strong character who draws us in because we're intrigued, and prepared to invest in finding out what happens to them. We might be prepared to suspend our disbelief in the process, but we want to have our intelligence respected. We also want to have work to do - to have things to work out, and that actively engage our imaginations and our thoughts. We don't want to be handed everything on a plate like a bland meal, but we're happy to be entertained. We want good-quality ingredients, but a novel doesn't need to be so good for us it feels like a meal we eat when we're on our best behaviour.

I'm so grateful to everyone who took my survey. Their answers have really given me an insight into what people want from a great women's fiction novel. I'm off to apply all the advice!

Bye for now.

Margaret

 

Hello, everyone

I don't know about you, but I'm a huge Cecelia Ahern fan. I always get the feeling she's writing exactly what she wants to write, following whatever path her inspiration and her imagination take her on. From love stories like PS I Love You, to stories including elements of magic like The Time of My Life, to the more gritty The Year I Met You, I've read and enjoyed them all.

Some writers consistently produce a novel a year, and their readers look forward to a new release, confident that it will include the same key elements - for example, a story from the past with old secrets to be tracked down; secrets that will help someone to find happiness in the present day.

With these types of authors, I often imagine the expression of dismay on their editor's face if, after a year or more of waiting, they were to discover that their author has broken from habit to write something entirely new. There is a lot of pressure out there for writers to give readers what they want, and readers often more of the same.

Cecelia Ahern, however, seems to trust her readers to follow her as her books evolve and change. But that's very much harder to do when a writer not only changes the type of book she writes, but who she's writing for. Cecelia has done just that with her novels Flawed and Perfect, which are written for a new, younger audience, hungry for dystopian novels about a bleak, future way of life. An audience that is most definitely not me.

I'm sad, I have to say. Cecelia is doing what she's always done - following her inspiration and her imagination, but it does feel a little as if a door's been slammed in my face. Of course, who knows what she might write in the future? Hopefully our paths will cross again, and in the meantime, I'll do my best to feel happy for the lucky young readers who are discovering the worlds she creates for the first time.

How about you? Have you ever felt bereft when your favourite author has changed direction? Let me know on my Facebook page or in the comments below. I'd love to hear about it. And stay tuned for the results of my Women's Fiction Survey and prize draw, coming soon!

Have a great weekend!

All the best.

Margaret

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This week, I’ve been really enjoying reading all the suggestions for fantasy places to read made by those who have completed my survey about women's fiction. (If you haven't completed the survey yet, there's still time - until the 31st May - and you could win a £20/$20 Amazon gift card. Here's the link: TAKE THE WOMEN'S FICTION SURVEY.

There have been so many great suggestions for fantasy reading places. Gardens of various sorts were a popular choice. I’ve recently been watching a re-run of a TV series called Around the World in Eighty Gardens, and your fantasy reading places made me want to go on a world trip called Around the World in Eighty Fantasy Reading Places. Wouldn’t that be great? Not only to experience all those wonderful places to sit and read a book, but to have the time and tranquillity to really get absorbed in reading.

Of course, for it to work properly, you’d need to have somebody on hand to carry your book pile and to supply you with refreshments. And they’d have to be somebody willing to melt into the background so they didn’t distract you.

drinks brought to fantasy reading place

One respondent was very specific about her choice of garden, naming the courtyard of the Isabella Stewart Gardner Museum. Not being familiar with it, I took a look. Wow! Isn’t it an amazing place? So amazing, I might not be able to concentrate on my book if I were there, which would mean I would need to go there often to get used to it, which wouldn’t be a bad thing at all.

courtyard of Isabella Stewart Gardner Museum

Another garden choice that caught my eye was: in the garden of my childhood home. How evocative that was! In a flash, I was back in the garden of my own childhood, remembering every detail of it, or at least, every detail that counted to me as a child – I daresay my mother would have an entirely different memory of it. (After all, she was the one who did all the gardening.) For me, it conjured up memories of the sumac tree I loved so much with its rust-coloured furry trumpet fruits, and leaves that turned a vibrant red-gold every autumn. The pink roses I once looked at in the sunshine, causing pink splodges to appear before my eyes for ages afterwards. The bush I mindlessly plunged my hand into only to have it stung by a bee. The time when I was forbidden to go to the end of the garden because my dad was secretly making me a doll’s house for Christmas in his workshop.

 

If I could go back there now to read, it would have to be beneath that sumac tree in the autumn. If you could return to the garden of your childhood, I wonder whereabouts you’d read your favourite books?

Of course, not everyone has a garden when they're growing up. If that’s you, I wonder what your fantasy garden would be like? Or perhaps you’d be happy to stay indoors.

I'd love to know your thoughts on reading in gardens, childhood or otherwise.  Comment below, or you can tweet to me at @margaretkaj.

I'll bring you more from the fascinating survey results soon. In the meantime, happy reading, whether you're in your fantasy reading place or not! Have a good week.

Margaret 

This week I've been trying to explain to my creative writing students the concept of head-hopping and why it isn't usually  a good idea.

Usually, it isn't something they've thought about before, although its use may well have played a part at some stage in their not enjoying a book without them even being aware of the fact.

So what is head-hopping? And why is it such a no-no?

Put simply, it's when from we move quickly from one character's view of the world and events to another character's view of the world and events within a scene.

It's probably best to illustrate it with an example. Here's an extract from my novel The Goddess Workshop, rewritten to include head-hopping.

‘He’s got no clothes on!’ Janet hissed to Estelle and Kate as the man continued to pose and smile, obviously under the impression that he was giving her a treat.

Reenie puffed to her side. Didn’t Janet know anything about the area? ‘This part of the beach is for nudists, love,’ she said.

‘Goodness!’ said Janet, still not moving.

‘Come on,’ said Kate, giving her a little shove. She was getting impatient with them, standing around the way they were. ‘Let’s get away from here before I lose my lunch.’

Janet responded to the shove, and they wandered on towards the sea. When Estelle and Reenie began to giggle, it was difficult not to smile.

Reenie smiled. Janet was starting to get some colour back into her cheeks, thank goodness. ‘Feeling better now, love?’ she asked, and Janet nodded.

‘A bit, yes thanks,’ she said, and it was true, she was. She had only known these three women for a short time, but they were all so dear to her. In a funny kind of a way, they were almost like a second family.

‘Well,’ Estelle was saying, grinning at them all, ‘I can think of something to cheer us all up,’ she said. ‘Not to mention Droopy over there!’ and with that she threw her bag down onto the sand, kicked off her shoes and began to strip. To hell with it! Life was for living.

Phew! In all, we get to discover the thoughts and feelings of FOUR different characters in this extract, and that's a lot to take in.

While the scene might still entertain the reader, it makes us feel a bit jittery and on edge. Let's face it, in real life we just can't know exactly what anyone else is thinking or feeling. To do so, we might need to wear something a bit like this:

The Goddess Workshop is told from all four women's viewpoints, but at different times, not all at the same time. Each time I wrote a scene, I deliberately decided whose viewpoint it would be best for it to told in. Sometimes this was just a question of balance for the story - maybe I hadn't had Kate's viewpoint for a while, for example. But usually, it was because the scene would work best from a particular character's viewpoint to advance the story or to show that character's development. In this case, I chose to tell the scene from Janet's point of view, because it's an important moment for her - the moment she fully commits to making a change in her life and to shedding inhibitions and old habits that are draining her self-confidence.

Nude on beach self-confidence confidence

Here's the scene as I originally wrote it.

‘He’s got no clothes on!’ Janet hissed to Estelle and Kate as the man continued to pose and smile, obviously under the impression that he was giving her a treat.

‘This part of the beach is for nudists, love,’ Reenie told her, puffing up to her side.

‘Goodness!’ said Janet, still not moving.

‘Come on,’ said Kate, giving her a little shove. ‘Let’s get away from here before I lose my lunch.’

Janet responded to the shove, and they wandered on towards the sea. When Estelle and Reenie began to giggle, it was difficult not to smile.

‘Feeling better now, love?’ Reenie asked her kindly, and Janet nodded.

‘A bit, yes thanks,’ she said, and it was true, she was. She had only known these three women for a short time, but they were all so dear to her. In a funny kind of a way, they were almost like a second family.

‘Well,’ Estelle was saying, grinning at them all, ‘I can think of something to cheer us all up,’ she said. ‘Not to mention Droopy over there!’ and with that she threw her bag down onto the sand, kicked off her shoes and began to strip.

If you don't tell your story from one viewpoint at a time, the writing becomes clunky, and the reader doesn't truly have the chance to engage with your characters. And I don't know about you, but I really want my readers to do that. I want the reader to care about my characters and to root for them. Maybe even to feel as if they are them, or at least to be able to empathisize with them.

It's all a part of the glorious experience of an absorbing read.

The Goddess Workshop - four women on a quest to become sensual.

Happy New Year, I hope you had a good Christmas, and a very warm welcome to anyone who’s new to my blog.

I read two extremely inspiring books over the Christmas period – Bird by Bird: Some Instructions on Writing and Life by Anne Lamott, and Big Magic by Elizabeth Gilbert. They are quite different books, but they are both about the creative process – what it’s like and how we can get the most pleasure and fulfilment from it. I loved both books, and they were an excellent reminder of why I write and why I’m passionate about helping others to write – because they're such amazing, life-affirming things to do.

It’s difficult to pick one thing out to share with you from them, but I particularly liked Elizabeth Gilbert’s advice in Big Magic to treat your creativity as if you are having an affair with it! Gilbert points out that when people are having a passionate affair, they make time to meet up with the object of their desire, no matter how busy they are, and even if it’s only for a snatched – but passionate – fifteen minutes. She advises us to fall in love with our creativity like that and to see what happens. “Stop treating your creativity as if it’s a tired, unhappy marriage,” she says, “and start regarding it with the fresh eyes of a passionate lover. Sneak off and have an affair with your most passionate self.”

It certainly sounds like fun to me!

While we’re on the subject of fire and sparks, I’ve just released a new e-course called Story Ignitor. It’s a highly practical course based on material I’ve used in my successful day-long workshops. I believe in learning by doing, so you’ll fuel your creativity and start to spark ideas for stories by creating a three-dimensional character and using an innovative technique to help you to plan a story. You’ll also learn about story themes – ways to choose one that resonates with you, and how they can make writing easier. I’m offering the course for an introductory price of £49 (that’s about $60), and all of my students are entitled to join my WriteUP Course Café Facebook group. This is a place to connect with other writers and to find out about writing opportunities as I learn about them. Here’s the link to find out more about the course, or to enrol: http://storyignitor.strikingly.com/

story ignitor - a course to help you find ideas for writing
ENROLLING NOW! CLICK FOR MORE INFORMATION.

 

 

 

 

 

If you’re Norfolk-based, I’m also offering some new face-to-face courses this term. Here are the links to find out more about those.

 

I love the start of the year – it’s a wonderful clean slate, just ready to be filled with exciting opportunities. I intend to really get stuck into my writing this year. How about you?

Until next time.

All the best.

Margaret

As I write my first draft of my new novel, my characters are forever doing things like putting their hands into their bags to find their car keys, moving forward to take people into their arms, or crossing the room to look out of the window at the rain.

person-731165_640

Sometimes it seems as if they are never still.

I see them doing these things in my imagination, so I describe them doing it all. But it doesn't always make for fascinating reading, and this is something I have to be aware of when I come to rewrite and to edit.

Of course, what a character has in their hand bag, and whether their bag is tidy or not, can tell us a lot about character.

bag-1609281_640

 

So can the way they hunt for their car keys. Do they up-end their bag? Throw it across the room when it doesn't come up with the goods? Search calmly and methodically? Talk to themselves while they're looking? Shout at the dog? Kick the cat? Scream at the kids?

 

dog-1418330_640

 

All these reactions are clues to character, or an insight into the mood of a scene, adding tension or making us laugh.

But sometimes, in fiction, as in life, we just need to get our characters out to the flipping car without all the phaffing around. If they urgently need to head off in pursuit of a villain, then just get them out there. Unless their tendency to lose their keys is going to play a key (apologies for the pun) part in the action .... Hmm, good idea.

Happy writing!

Until next time.

Margaret

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Today I want to talk to you about how Joan of Arc destroyed my self-confidence. Actually, that’s not right - my apologies to Joan. It’s not fair to blame her. It was all entirely my fault.

Or maybe the teacher’s for putting me under so much stress.

 

708px-joan_of_arc_on_horseback

 

But whoever was to blame, those few unhappy seconds in a French lesson when I was eleven years old had a dramatic effect on my self-confidence – an effect that lasted for almost twenty years.

Let me set the scene for you. I was newly transferred to the class, and painfully shy, so it was unfortunate that one of the first things I had to do was to give a talk in a French lesson. My allotted subject was Joan of Arc (for those of you who don’t know, Joan – otherwise known as Jeanne d’Arc – is a Fifteenth Century French saint). I duly did my preparation and went to stand nervously at the front of the class when it was my turn to speak.

Then I opened my mouth, and, with all eyes upon me, I said: “Joan of Arc was brought up as a pheasant.”

pheasant

 

I had, of course meant to say peasant – a country dwelling agricultural worker, not a large, colourful game bird – but nerves got the better of me, and I’m sure you can imagine the reaction that followed my slip up. There was general hilarity in the class, pretty much drowning out the rest of my faltering words.

 

giggle-608824_640

 

I expect my classmates soon forgot about it, entertaining as it was, but I certainly did not forget about it, and the incident affected me drastically. I clammed up almost completely after that – never saying anything at all in class unless I was forced to, and unfortunately this silence and terror extended to my life post-school. My extreme phobia about public speaking limited the courses I could take, and the jobs I could apply for.

Until finally, with my thirtieth birthday looming, I decided enough was enough. It was time to do something about this fear.

So, I did. Very gradually, until I proved to myself that I’d made a complete recovery by performing stand-up comedy to a crowd of two hundred people in a London comedy club. (I put my experiences into a novel!).

 

dare-club-cover1

So, how did I do it? By taking baby steps, and celebrating each and every one.

First of all, I joined an adult education class – I don’t even remember what it was about now – and then I challenged myself to make one statement, or to ask one question at every session. Then two statements or questions. Then three. (You can’t imagine how my heart pounded and my hands sweated as I willed myself to speak).

I did it just a little bit at a time, until I was ready (yikes!) to join a public speaking course. There, I made people laugh. Deliberately, this time. It felt fantastic. After that, I felt ready to take a teaching qualification. And I discovered that I loved the performance side of teaching. Everything about teaching, in fact. Then, eventually, came that three-minute stand-up routine at the Up The Creek Comedy Club in Greenwich, which was one of the greatest moments of my life so far, and the pinnacle of getting over my public speaking phobia, I’m sure you’ll agree. Every time I feel my self-confidence ebb a little bit, I just watch myself on YouTube and remember that I did it. I actually did it. The sense of achievement that night was incredible. On a par with holding my first published book in my hand…

 

me-doing-standup
Performing stand-up comedy at The Up The Creek Comedy Club in Greenwich, London

So, if you want to write, but something’s holding you back, find out what that something is. Be kind to yourself. Take baby steps to deal with it, and celebrate each and every one. Think in terms of asking a question in an adult education class, rather that a full-blown stand-up comedy performance straight away. Get support on your crusade. (Although maybe not from Joan!). Your efforts will be worth it, because all those little steps can add up to something bigger.

Like a novel!

Want to learn more about how fear can affect writers and what to do about it? Join my Feel The Fear Webinar on 20th October. If you can’t make it live, a recording will be available to those who register.

Oh, and just a reminder that the early bird price of my course Feel The Fear and Write Anyway ends on Sunday 24th October.

Have a great weekend, everyone!

Margaret

 

 

 

When my son was younger, I used to read picture books from the That’s Not My… series to him.

If you’re not familiar with them, there are hundreds of books in the series – That’s Not My Truck, That’s Not My Robot, That’s Not My Monster, even That’s Not My Cow! The format is always the same – they start off with several pages of, That’s not my… for example, That’s not my monster, it’s eyebrows are too hairy. Then they finish on a triumphant That’s my… That’s my monster, his spines are so prickly. (Or whatever it is).

thats-not-my-monster

With my new course Feel The Fear and Write Anyway coming out soon, I’ve been thinking about author fears a lot lately, and in particular, about how people might not always think they have any fears about writing.

But if you’re:

  • procrastinating, and rarely getting any writing done,
  • constantly putting other people’s demands before your desire to write, or
  • you never finish anything, and you’ve got a drawer full of unfinished stories,

Then fear is probably at work somewhere, whether it’s a fear about what people will think of what you write, or an insecurity about everything you feel you don’t know about writing, or, quite simply, the strongest fear of all, a fear of failure.

Sometimes, recognising our monster – in this case, what lies behind our self-limiting fear – can help us to deal with it and move on.

After all, nobody wants to keep a monster for a pet, do they? Even if it does have a very fetching pair of horns!

monster-1274723_640

 

If you'd like to know more about Feel The Fear and Write Anyway, you can check out the course website or sign up to my FREE WEBINAR on Thursday 20th October, at 2pm GMT.

Cheers!

Margaret

 

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Let me introduce you to Emma. She’s fun to be around, enthusiastic about writing and very talented. These days she has established a writing routine that works for her, and she writes regularly, despite having four young children and a tendency to drop everything to go to music festivals.

emma-cropped

But it wasn’t always like that. Emma’s enthusiasm and talent for writing were always there, but the writing routine was non-existent, and whenever she thought about writing, she felt fed up and blocked.

This was all because of a bad experience she had at a writing class, where she received very unhelpful feedback on her work. Far from highlighting Emma’s achievements and constructively suggesting areas for further development, the tutor for this (somehow) sought-after course, slated Emma’s work. He pulled it apart so thoroughly that her self-esteem – and virtually her will to live – were in tatters.

I might never have met Emma at all. She might have decided to give up on her writing dreams at that point. But a few years later two of her friends told her about my courses, AND she had a link to the enrolment page pop up on her Facebook timeline. Fortunately for me, Emma decided to view this as fate at work, because Emma came along to one of my courses, and she’s a joy to have in a class. Not only is she talented, but she’s so helpful to other group members.

When Emma first told me about her ordeal, and how it had stopped her from writing for several years, I was furious. How dare that tutor treat Emma’s precious writing dreams like that?

Emma explained to me that she was writing science fiction, which was far removed from the literary fiction the tutor had published, but this was no excuse at all, as far as I was concerned. Published writers – no matter how successful – should never forget how vulnerable people can feel when they first start sharing their words. I know I certainly haven’t.

When I first started writing, I was ridiculously sensitive! I remember the first time I read out a story at a writer’s circle, and I described a woman’s face ‘turning a colour somewhere between green and purple’ (with embarrassment and horror). OK, I realise now that it’s not a sentence from a great work of literature, but at the time I was pleased with it, and was quite taken aback when one of the group members stated quite abruptly that it wasn’t possible to have a colour between green and purple, and that I should use the word puce. Puce. I wasn’t even sure what the colour was, and I had to go home and look it up. And it was such a horrid word, sounding as it did, remarkably like…well, sick. My story was light-hearted and fun, with no pretensions to be anything else. Puce just didn’t fit. I felt discouraged, and never returned to the writer’s circle. (I told you I was sensitive in those days!)

As I’ve gained in experience and had many novels published, my self-confidence has grown to the point where I’m able to sift through feedback and make a judgement about whether it’s relevant and helpful or not. (If it’s from an editor, I’ve also learnt to be tactful if I don’t think so!) I always make a point in my writing classes of helping my students to develop the highly useful skill of giving and receiving constructive feedback. It’s such an important part of a writer’s development, because you can learn so much from it.

When I began teaching my creative writing classes, I encountered that vulnerability and that fear of exposure over and over again, and decided that my classes had to include an element of confidence-building in order to be of use to people.

As for Emma, she very kindly took part in the pilot version of my course Feel The Fear and Write Anyway – Self-Confidence For Authors, which opens for enrolment very soon. I asked Emma and other recent students to try it out and to give me feedback, so that I could make it as useful as possible. The power of feedback, see? I’m happy to say that all their suggestions were really helpful – and constructive!

I’m so excited that by creating an online course designed to boost writers’ self-confidence while they’re developing essential writing skills and habits, I’m going to be able to help people I might not otherwise have been able to reach. People who want to take that first step towards realising their writing dreams. Or, if they’re like Emma, people who want to recover from a set-back to move on towards their goal of completing a novel.

I can’t wait!

Enrolling soon!
Enrolling soon!
Sign up for the FREE Fear-Busting Challenge for Authors here.
Sign up for the FREE Fear-Busting Challenge for Authors here.