Category Archives: Musings

Awards

So I’m juggling a few projects here I know, but I’m adding more:

The Katharine Susannah Prichard Writers’ Centre is in WA and runs annual competitions. One of which is specifically Speculative Fiction and entries close later this month.

The Australian Book Review runs  the Elizabeth Jolley Short Story Prize, and it too closes for entries later this month. In this case it is not Speculative Fiction per se. The past winner describes her genre as Farm Lit, or Rural Romance. I’m not so much a writer of Romance, but I agree with her that writers should have the imperative to write about sheep if they wish. I’ve written about the rural life myself, so I’m treating it as open to some of the less obviously Fantasy pieces I’ve written.

So if I’m a bit quiet I’ll be working on my entries to these competitions. I’ve got some projects in the pipe-line I am polishing for the purpose.

Other than that I’ve experienced renewed vigour for my follow-up to my manuscript novel, and I’m still spending some time with my Urban Fantasy draft.

I suppose it’s about finding that balance between my writing and building this platform.


Query Letters

Query letters are hard!

Sure there’s plenty of sites that give you some advice*, and often agents have blogs where they explain what thye like or don’t in a query letter. Often though these contradict, and what one agent recommends another despises. Sometimes the same agent will advise against something in early posts and change their view over time. Other times there’ll be a query letter that breaks all the ‘rules’ and yet gets the desired attention.

So here’s my (humbly submitted) take on query letters:

They have one purpose – get you to the next step. 

This sounds simple (I hope), but it sometimes gets lost in the minutiae. Query letters are a tool with a purpose. That purpose is to intorduce yourself and your work and get someone interested enough to want to read more. That doesn’t make them simple to produce, but it needs always to be the guiding principle. All the other rules and recommendations support this goal, but they are subservient to it. If you break all the rules and yet someone is interested enough in your letter to want more, then it’s a good letter. If you follow all the rules meticulously and get a dozen rejections before someone wants to see more, it’s still a good letter; it’s served its purpose.

They need to be honest.

I think query letters are a case of don’t try to please everyone. If your query letter does a good job of introducing you and your work then consider it a success. If it gets rejected that doesn’t mean the letter’s not a successful letter. It might mean that the agent or publisher you queried is not a good fit for you, or for your work. There’s nothing to be gained from a query that represents you or your work as any way other than truthfully. If an agent does make a request based on that query they’ll soon find out that your chapters or your manuscript aren’t exactly what they were looking for anyway. That’s another rejection and back to square one. All you’ve gotten is false hope and it’s cost you time when you could have been finding an agent that wants to work with you.

They need to show your talents.

It’s not just about your work; it’s not just about your bio. It’s a combination of both, and it’s also a kind of demonstration piece. Being able to explain your novel succinctly shows you have a plan, and a structure. Being able to attract interest shows that you have the hook, or point-of-difference, that will make your work marketable. Being able to discuss your work as a product shows that you consider yourself a professional. Being able to write an engaging and interesting letter shows that you have the command of the language to write engaging and interesting prose.

I found that breaking the query letter down into these three focus points helped me cut out a lot of unnecessary plot synopsis and really hone in on what was important. I don’t know if it will work yet, but I’m a lot happier with what I have now than what I first sent out.

This is a query letter I had for a while and submitted to a couple of agents. It relates to my novel Exile, and it was not successful. I’ve changed it because it’s not honest. Reading it I get the wrong impression about who is the protagonist of the novel (Duc Abastille isn’t introduced until about a third of the way through the novel).

I was too focussed on exposition of back-story that I barely introduced the characters which my novel is about. I think it’s an engaging query (but I’ll let you judge that), and some of it I’ve retained for the revised queries, but it is not an honest one.

Specific Agent

Specific Agency

Address

As a young man Gerard Abastille was an acclaimed hero of the Battle of Three Fords. His victory brought peace to the warring families of Alterre, and brought him the noble title of Duc… but that was seventy years ago. Now Duc Abastille is old and the peace he won is worn and brittle. When his sons are killed in suspicious circumstances he is left without an heir, and his legacy is threatened. He suspects his old enemy Jarl Blodax, but in the internecine politics of Alterre no one can be fully trusted.

Jacqueline, only daughter of Duc Abastille, has been disowned for her love of the commoner Selwyn. Together in exile, they have raised a family beyond the borders of Alterre, but their past is not so easily left behind. When become victims of a broader conflict their children are thrust unprepared into a brutal world. Rymon must conform to a role demanded of him by his birth, Marianne must find her place in a world that treats her as chattel, and Jolyon must somehow overcome his guilt and perhaps find a way to bring his family back together.

EXILE is a Fantasy with minimal, ambiguous references to magic and non-human races. The morality is gray, and while the setting is epic in scale the plot is focussed on the narratives of Selwyn and Jacqueline’s surviving children, not the fate of the world. It is complete at 241,000 words. 

                                                                                                                                                                                                                                                   

* Some of the linked sites here are for cover letters, not query letters. Cover letters are usually either for short fictions (and therefore you’re sending the whole story so a synopsis is, in a sense, redundant), or will accompany a synopsis and/or sample chapters. There’s plenty of other sites too. Google ‘how to write a query letter’ and you’ll have more to options than you know what to do with.


A Gordian Knot

Today I finished a short story that I started maybe two years ago and which I’ve been wrestling with on-and-off occasionally ever since. I had reached a sticking point, and I feel I may have solved the problem today.

When I write a short story it often starts with a character, or a scene. I have plenty of scratchings and notes of this sort which may never become short stories of their own. Some of them might be chiseled and shaped, or molded into new things and added to or inserted within another project or a different story.   Many of them remain as notes or scenes or character descriptions for characters who will never be given a story. Hopefully I’ll come back to some occasionally and expand on them.

This short story started out with two characters, young boys, our protagonist and his only friend. As I wrote it I reached a point where the two characters were, I feel, well developed and the relationship between them was well-defined with a few nuances. The lesser characters with whom they interacted were shallow, as is often required in a short story where an economy of words is essential, but I was overall happy with the characterisation.

The setting was part of the world I created for my novel “Exile”, so it was well developed. If anything it was perhaps over-developed for the needs of the short story. As with “The Green Monkeys” and “A Choice of Kings”, also set in this fictional world (“The Green Monkeys” also set in ‘Talamh’), there was a challenge in leaving out some of the irrelevant detail I had developed. This is sometimes a problem for Fantasy writers and authors. Once someone has created a highly-detailed alternative world there is a compulsion to tell your readership all about it. In detail. Too much detail. George RR Martin has spoken of how important it is to use only the details of the setting that are relevant to the plot, and invented only a few words of Valyrian or Dothraki (only those that the text required to demonstrate how the languages were different and foreign). Joe Abercrombie has spoken of his distaste for maps and his novels always reference their setting with a deliberately lack of specificity. Tolkein on the other hand created a meticulous history and several languages for Middle Earth. In truth the stories of Middle Earth, “The Hobbit” and “The Lord of the Rings” were by-products. Tolkein was a professional philologist and his central concern was to develop languages, from these he created Middle Earth so that people could speak his languages; the narratives that resulted were never his intended goal, and while in many instances the detail of Tolkein’s setting is what set him apart and spawned his legion imitators really few people complained when the film adaptation cut whole chapters of Tom Bombadil out. It didn’t detract from the narrative at all.

The plot I also had mapped out. I don’t usually map a plot too early in my process. As I said the story will start as a scene or a character, I’ll build on that, hopefully develop a conflict and some complications and at that point sit down to map them out. In this instance I had an initiating circumstance, a conflict, rising complications, a conclusion, and a resolution. I knew what would happen, how each event would lead to the next, and how the story would end.

In short I had everything I needed: characters, setting, plot. And yet one scene was holding me up. I knew what needed to happen in the scene. I knew who was involved. I knew where in the narrative the scene belonged. I knew what brought the characters together at that point. I knew where they had to go after that scene… I just couldn’t write it. I tried. Several times. It always sounded naff. Not terrible. Kinda ‘passable’ but just… not good enough.

It was frustrating.

So today I took a different path. No more chiseling at the edges, no more gentle molding, no more sanding back or polishing, no more pulling at threads hoping the knot would unravel. I took the sword to it. I cut it right back, made the dialogue do a lot more of the heavy lifting, took out some unnecessary details and…

And I think it’s worked. Maybe I wake up in the morning and post a retraction. Maybe it was horrible and needs to be re-written, but for the first time I am confident that at least structurally it’s right. The drafting and revising process isn’t finished, but it’s close, and the story actually looks like a story now. There’s not a great big chunk missing out of the middle like there had been.

It’s called “To the Iron Hills”, and it’ll be between 7,500 and 8,000 words complete. I’ll post a couple of thousand words as an excerpt here soon, but I’m keeping most of this one up my sleeve for now and I’ll definitely be submitting it to some publication markets when it’s ready. I reckon this one’s a good one.


“The City & The City” Review

“The City & The City” Review

My first contribution to “Disinformed”


“Disinformed”

I’ve recently accepted an invitation to become a contributing reviewer at “Disinformed”.

It’s a collaborative blog, and whilst I haven’t posted any reviews yet I plan to do so very soon., so if you’d like to read my opinions on the writing (or film-making) of professionals, or if you’d like to read some reviews from my fellow contributors others then come on over for a look.