The highlight of my writing year so far has been winning a free place, courtesy of Writers’ News, at the Writers’ Summer School at Swanwick in Derbyshire. Many writers, of all levels of experience, return to Swanwick year after year, but every effort is made to make ‘Swanwick Virgins’ feel welcome.

The Hayes Conference Centre started life as a 19th century gentleman’s country residence. I wonder what he would have made of the first group I encountered in the bar, huddled together discussing the best way to poison a spouse? That evening, as we filed into the main conference hall for the Chairman's Welcome, hundreds of pairs of eyes were fixed on the group of red faced competition winners going up to receive their prizes. The applause was warm and genuine, though, and that set the tone for the week. I soon found myself surrounded by people who thought my love of writing and the time spent on it entirely justified. Like Shirley Conran in Superwoman, I’d much rather lie reading (or writing) on a sofa than sweep under it.

The range and quality of tuition was stunning, featuring a range of four-part courses, two-part workshops, one-off talks, panels, quizzes and discussion groups. No amateur writer could fail to benefit from being surrounded by so many experts, all willing and able to dispense advice. I'd decided to focus on fiction; short stories, novels and historical fiction, and found my tutors to be inspiring and generous. They were more than willing to carry on well beyond the timetabled sessions, giving us the chance to air what we'd written - particularly useful for those lacking the confidence to read their work to a large group.

The tutor who ran the short story course I attended was exceptionally helpful. She showed me why some of my own short stories are failing to hit the spot with editors and a great deal about tailoring specific stories to specific markets. From the novel-writing tutor, I gained insight into voice, sequencing and pace, and discovered that a good story is more likely to sell than polished prose. I plan to hack to pieces and rewrite the book I’ve been trying to place. I think I finally understand the distinctions between literary, genre and general fiction and have a clearer idea about where my novel might fit in.
 
Other activities squeezed into my schedule included a workshop on article writing, a poetry read around, a showcase from the Topwrite group (young writers whose applications have been supported by their creative writing tutors), several talks; writing and directing a theatre play, publishing on-demand, making money from small projects and marketing a non-fiction book. After all that, I felt I'd earned a stiff drink before dinner!

Every tutor set homework exercises to be presented at their next session. For the workshop on articles, we were each given a different magazine to analyse, with a view to identifying its audience type and any opportunities for freelance contributions. For the short story course, we had to write an alternative fairy tale. The novel writing tutor wanted a character study, then a dialogue between that character and someone with whom he/she is in conflict. For historical fiction, we had to work on a suitable setting and time period for the story we had in mind.

I completed my homework diligently, wanting to squeeze every drop of benefit from this rare opportunity to learn from experts. Surprisingly, many of the well published tutors were still eager to learn and sat in on their colleagues’ sessions whenever they could. The feedback was very satisfying, as the tutors were encouraging, but generally too wise to pull their punches. A lot of informal feedback went on in between sessions and still continues, with people exchanging pieces of work by snail and email.

One of the best things about Swanwick is its lack of cliquiness. Published or unpublished, long established writer or nervous beginner, everyone mingled. This was apparent in the bar and lounges, outside in the grounds and particularly at mealtimes. Whichever individual or group I approached seemed happy to get to know me. Like most writers, I'm an inveterate people watcher. At dinner, I amused myself by imagining what sort of work my closest neighbours produced. The affable gentleman I had down as a contributor to fishing magazines hides a prolific output of medical romances under a female pseudonym. The neat little white haired lady on my other side had just brought out the latest in a long string of racy novels. I'm so glad that I kept my speculations to myself! The only person I was right about all week was an intense young man with dark, soulful eyes. He just had to be a poet.

After the meal each evening, most people were keen to listen to the celebrity speaker. Those invited this year were Benedict Allen, Virginia Ironside, Bel Mooney, Rosie Goodwin and Simon Brett, all very entertaining in different ways and happy to answer questions after their talks. I was particularly inspired by Rosie Goodwin, who combines writing novels with being a full-time foster mother. After hearing that remarkable lady speaking about her busy life, I shall never again dare to say that I lack enough time to write. The late evening brimmed with alternatives for the night owls; poetry and music, interviews and discussions, dancing of various kinds and, of course, the opportunity to share a bottle of wine and talk about every conceivable aspect of writing until the small hours.

Swanwick 2006 closed with its traditional panto, an outrageous production that had us rolling in the aisles, and a Chairman's Farewell. I left the following morning laden with course notes, contact details, and the books from other writers I'd succumbed to buying. By the time I have worked through them all, I think it will be time to sign up for next year!

The programme at Swanwick could hardly have been more packed, yet the only pressure to participate was self imposed. Someone who wanted to spend the week reflecting quietly in the Chapel or scribbling by the lake would have been perfectly free to do so. There was inspiration everywhere, from brief snatches of conversation overheard in the bar to anecdotes from the tutors and the celebrity speakers. I realised that there are many other writers, generally female, whose families think them selfish to put their writing at the top of their personal agenda, ahead of tackling the ironing or producing cakes for the Scouts’ latest stall.

Perhaps I shan’t feel so guilty in future.

Notes from Swanwick 2006: Top tips for aspiring fiction writers
 

A good story will be more successful than polished prose

Choose a theme/location/time period that hasn’t been done to death, unless you're sure of having a very original slant on it.

A striking and/or thought provoking title is crucial. Proverbs, Shakespeare and even the names of race horses can be a good source of inspiration.

The names of characters should reflect their age group and/or the period.  Not many babies have been named Herbert or Gladys in the last half century and there were no Kylies around in Victorian England.

Names can also be clues to the background of a character. There would have to be a good reason for a Crispin to be working on a building site.

Beware of anachronisms. A Regency heroine wouldn’t travel to Bath by train.

Double and triple check any information you find on the Internet.

Every story needs a great opening, substantial middle and even greater ending.

Opening paragraphs should get across the setting effectively and tell the reader what the story will be about. This is the ‘hook’.

Readers like to identify with the characters. Start with the one (generally likeable) whose viewpoint is the main thread of the story. In romantic fiction and short stories for women’s magazines, this will generally be a female character.

The people are the most important feature of the story and should be believable. Most heroines have flaws. There are few villains with no redeeming features.

Editors look for causality. Each new scene or chapter should move the story on by including a new situation, leading to a new event and a new effect.

Show, don’t tell. Consider joining a script writing workshop to practise this. Avoid one character giving chunks of information that the reader will probably skip.  Don't begin with 'As you know ...'

Short stories for women’s magazines

Stories written for competitions are often unsuitable.

Study at least three recent issues of any magazine you intend to target. Are the covers brash or restrained? The age group, gender and socio-economic background of its readers will usually be reflected in the advertisements and the letters pages.
How long are the stories? Some magazines publish guidelines. If not, do your own word count. Are they raunchy or sedate? Twist in the tale? Ist or 3rd person viewpoint. How many and what kind of characters?

Editors want stories that are mainly character driven. Avoid having too many characters and never introduce a new one towards the end unless there’s a very good reason for it

No graphic violence or sex scenes. No divorce, abortion, suicide, rape or murder, ‘on set’. No stories narrated by animals or inanimate objects.

Themes considered trite at the moment are dreams, ghosts disappearing, lottery wins and rich relatives turning up to save the day

Aim for at least 60% dialogue.

Many short stories start too soon. Cut out details of breakfast and the journey to work, unless crucial to the plot.

The ending must be satisfying. Generally this means that it shouldn’t be predictable from the outset and is a happy one, at least for the main character.

Submissions

Submit seasonal and anniversary themes at least 3 months ahead. A year ahead is better. Address your covering letter to a named person. These change more frequently than published details are updated, so phone to check.

Don’t be apologetic or self effacing. Always say you have a new story/book on the way.
Include an s.a.e. Don’t use email unless you’re told to.
 

Full details on how to attend Swanwick 2007 are available from the Writers' Summer School website.

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