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erinnamettler

~ Brighton based author of Starlings

erinnamettler

Tag Archives: writing

Anatomy Of A Short Story

14 Tuesday May 2019

Posted by erinnamettler in Short Stories, Uncategorized

≈ 2 Comments

Tags

Big Brother, British Columbia, For Books' Sake, gender, horror, inspiration, Jeremy Kyle, La Push, Lakeview, Lakeview Journal of Literarture & Arts, literary journals, literature, macabre, Miley Cyrus, Olympia National Park, point of view, reality TV, rejection, research, short fiction, shortstories, Sixteen Feet, The Manchester Fiction Prize, The Twilight Saga, Twilight, Washington State, writing

During the 2016 Easter holiday I read a news story on the BBC website. They have a sidebar for the most clicked and I often look here for short story inspiration because it usually contains some little-known news item that has piqued the public imagination. On this particular occasion, the story that caught my eye was about fifteen severed feet that had washed up along a stretch of coast in British Columbia, Canada. The details were scant but macabre, the first foot was discovered in 2007 and five more appeared on the same coast over the next year, the gruesome discoveries stopped in 2012 and resumed again in 2016 bringing the total number to fifteen. There was speculation that it was a seafaring serial killer, tying chains around his victim’s feet to throw them overboard, theories ran from alien abduction to human traffickers but there was, at that time, no reasonable explanation.

It had a definite Scandi-noir feeling about it that I knew I wanted to explore. I started to formulate a story from the point of view of one of the people who had found a foot. Initially the main character was a woman who was out jogging on the beach with her dog. As I wrote I realised that there would need to be more to it, the main character would need a personal tragedy which added emotional resonance to the initial shock of discovery, so I imagined a partner lost at sea, there being no body to bury giving the protagonist a feeling of affinity to the severed foot, even convincing herself that the foot belonged to her husband.

I have never been to British Columbia so I played with setting the action in Scotland or Ireland but it didn’t feel right.  I have been to Washington State, spending time at La Push on the Olympic Peninsula, you probably know it as a location for the Twilight books and films, it’s desolate and eerie and a lot of things wash up on the shore. I decided to set my story there, it’s only a few miles south of Vancouver Island and I had photographs and memories of walking on the beaches there which made the descriptions easier to conjure. I’ve never been afraid of writing in an American accent, American culture is so familiar to us now and I’ve visited enough times to find it relatively easy to mimic. (Of course I may well get the odd word wrong but a lot of my work is set in the US and I have beta readers who I can ask about Americanisms.) I think as a rule, if you’re not comfortable don’t do it but if you can it’s good to stretch.

The first draft took a week to write. We were on holiday at my Father-in-law’s in Devon and perhaps the change of scene made the words flow faster. About half way through I realised I wanted the couple to be gay. I decided to make the main character a man mourning the loss of his husband who was a fisherman. I wanted to add another level to the story by normalising the couple and placing them out of a city in a remote area. The moment I decided on this it was like a light turning on. I went back over everything and changed what I needed to but deliberately kept the gender of the narrator ambiguous until near the end when he goes to see the local sheriff and is addressed by name. A lot of readers still think it’s a woman even though the name is very specifically male. I find this interesting in terms of expectation – the implication being that I am a woman therefore I have to write about women. I love writing from a male point of view. I do it often and it is very liberating!

Once the first draft was done I did a lot of research. I looked up every article and news broadcast I could find on the phenomenon, there were interviews with the people who had found the feet and law enforcement officials and hundreds of icky photographs. I discovered that most of the feet were found in running shoes, that the ankle was usually bone and the foot still had flesh – it was gruesome and fascinating and provided rich detail for the second and third drafts.

Sixteen Feet

I was really pleased with it when it was done and began sending it off to journals and competitions. Then came the usual round of rejections. On November 9th – two days before my birthday and the day we knew Donald Trump was the next US President – I got a phone call from The Manchester Fiction Prize telling me I’d been shortlisted. If you don’t know, The Manchester Fiction Prize is a big deal, the winner gets £10,000 for a single short story but just getting on the shortlist of six is a major event for any writer. There was a fancy gala in Manchester, I didn’t win, to be honest I don’t think anyone ever expects to win such things, but I did have a fantastic time, a career ambition had been realised and it gave me a huge confidence boost.

The story was published on a pdf on the prize website but I thought it deserved to reach a wider audience. Over the next few years I submitted it everywhere that accepted previously published stories, I  approached journals in all honesty saying it had been shortlisted and appeared in pdf only. I got absolutely nowhere. When my collection, 15 Minutes, came to be published I tried to shoe-horn the story into it, changing some of the details to fit into the theme of fame but it didn’t feel right so I left it out. Thankfully Sixteen Feet has now been picked up by the wonderful Lakeview International Journal of Literature & Arts and you can read it there for free.  I suppose the purpose of this blog post is simply to say never give up on something you think deserves better, eventually when the tide is right it will wash up on shore.

End note – because of this blog post a story for 15 Minutes is now on For Books’ Sake Weekend Read and you can read it here. That’s two free reads from me this week, if you want to read more please buy the book!

Lakeview

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Last Chance To Enter The Brighton Prize!

25 Monday Jun 2018

Posted by erinnamettler in Brighton Prize, Uncategorized

≈ Leave a comment

Tags

Alison Macleod, competitions, Erinna Mettler, flash fiction, Golden Hare Books, Haleh Agar, Sarah Manning, short stories, Sussex, writing

As a director of The Brighton Prize I have the good fortune to act as one of the judges every year. The prize is open for international entries of short stories (between 1,000 and 2,000 words) and flash fiction (up to 350 words). It’s always exciting to see what stories arrive through the inbox and there are always some truly world class entries. We like to see stories that are a little bit out of the ordinary, that look at the world in a different way, through different eyes. We also love a laugh and rarely get sent anything funny so if you have something that will make us guffaw it might be worth sending it – comedy is a difficult write though.

This year my fellow judges are author Alison MacLeod (previously long-listed for the Man Booker and currently shortlisted for The Edge Hill Prize) and literary agent Sarah Manning

On what she looks for as a judge Alison says: ‘In a great story, I love to see a writer’s understanding that seemingly small dramas can reveal the profound stuff of life; that ordinary events can reveal the extraordinary.  Melodrama swamps a short story of course. If a story is about the extraordinary or the fantastical, I want to be shown the ordinary human truth within those events. I love a confident prose style. whether the language of the story is gritty and stark, or lucid and clear, or rich and rhythmic. I want the voice of a story to draw me in with its quiet force or alternatively, to grab me and say, ‘Listen… This story matters.’

Sarah says: ‘I am excited to be a judge for the Brighton Prize and am looking forward to discovering new voices. If the main character jumps off the page and has a clear goal which keeps me reading, then I am hooked no matter the genre!’.

And me? ‘I want to see stories that linger long after reading. There has to be something new and original, an authentic voice, a subject no-one has thought of before. Be as ‘out there’ as possible but keep it simple. The story should be suitable for a public reading and should therefore be easy to follow. I love cinematic writing; I want to be immersed in new worlds. Writers need to show that they have paid attention to detail too. I don’t want to see any silly mistakes as I’ve got to edit the stories for publication!’

The winners and short-listees of last year’s prize were all offered publication. There was a prize-giving in Brighton in November, a launch at Golden Hare Books in Edinburgh, an event at Brighton Fringe Festival and our Flash Fiction winner Haleh Agar was published in Viva Brighton a local magazine with a circulation of 26,000.

All this AND big cash prizes!

You’d be silly not to enter. www.brightonprize.com

Brighton Prize Poster 18

 

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Starlings Reborn

03 Sunday Jun 2018

Posted by erinnamettler in starlings, Uncategorized

≈ 1 Comment

Tags

amwriting, books, Brighton, Brighton Pier, characters, ebooks, inspiration, locations, piers, publishing, Revenge Ink, seaside, self-publishing, starlings, writing, writing practice

I’m on Brighton Pier in the half term holidays. The skies are white with low cloud and there’s a sea mist blowing in but it’s warm enough to be outside so I’m sitting at one of the tucked away tables by Horatio’s Bar. Their playlist is quiet enough to ignore as are the distant screams of children as they hurtle through the air on the twirling aeroplanes of the nearest ride. My youngest and his friend are finally old enough to go on rides on their own so I’ve got them all areas wristbands and have settled down for a couple of hours of writing.

Brighton Pier has a lot of memories for me. I came here as a kid then brought my kids and since I started writing it has always inspired me and often features as a setting in my work. It’s a haven for detail; competing, smells, sounds, lights, people of all types from babies in prams to pensioners with walking sticks, smiling children hopped up on sugar, hungover stags and hens, parents, grandparents, teenagers trying to be cool. I had a little walk around the hidden bits, the alleyways between the rides, the end behind the Turbo, because that’s what I did when I was writing my first book, Starlings. I’m feeling nostalgic. Starlings is entirely set in Brighton. I wrote it when I first moved here and it helped me get a handle on my new home, I wanted to really get into the nitty gritty of the lesser-seen aspects of a British seaside town, to explore it as I would a character. Brighton has a personality that changes day to day, very different in the height of summer to a rainy day in December. I spent a lot of time seeking out the more unusual locations or looking at the well-known ones from a different angle. One of my proudest moments was at an event when a Brightonian reader exclaimed surprise that I wasn’t born and bred because I’d got it spot on.

The reason for all this nostalgia is that Starlings will very shortly be out of print. I bought the remainder paperbacks from my publisher and I’ll be getting all the rights back very soon. This makes me both sad and hopeful. Starlings was my first book and I had no idea what had to be done to market it to readers. For me it was a huge achievement that it was published at all but I’ve always thought it didn’t live up to its full potential. I’d like to give it a re-edit and a cover make-over. I have plans to publish a new edition paperback and release it on ebook and I know a lot more about publishing now than I did then. It’s seven years since it came out, my publisher, Revenge Ink, was a gutsy little maverick trying to showcase the type of books being ignored by the mainstream (if anything this situation has got worse and the industry has got more blinkered in what it chooses to publish). I am forever grateful to Revenge Ink for trying, for taking on my little book because they really understood and believed in it and we part on very good terms.

People still buy Starlings, they come up to me at readings and say they’ve just discovered it and ask why I was so mean to Barney. I’m asked to local book groups on a regular basis and it’s still in the Brighton books section of the city’s bookstores. I’ll be peddling the ‘limited edition’ originals at book fairs and market stalls until I run out (or hell freezes over). If you want a signed copy, personally dedicated by the author email me at erinnamettler@gmail.com or look out for me at car boot sales, a copy is yours at the knockdown price of £5 plus p & p.

‘This is the last bench in Brighton. To the left of it are the rickety legs of the Mousetrap. At the height of summer they rattle constantly under the weight of the mouse-shaped cars that whizz along to the screams of happy tourists. On this day they only shudder slightly in the wind.’ 

Now we’re off for fish n chips.

67D8EEBE-FCF0-4513-A12A-BB51F3960736

 

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A Short Story Thread

06 Tuesday Feb 2018

Posted by erinnamettler in Brighton Prize, Fifteen Minutes, Short Stories, Unbound, Uncategorized

≈ Leave a comment

Tags

agents, books, Brighton, editing, feedback, inspiration, publishers, shortstories, Twitter, workshops, writebythebeach, writing

I did one of those Twitter thread thingies today – about writing and submitting short stories. I have pasted it below.
15 Minutes‏ @ErinnaMettler

On March 17th I’m giving a talk on #shortstories @bh_writing conference in #Brighton as a director and judge of @BrightonPrize Here’s a thread about what I wish I’d known when I started out 10 years ago.

1:04 PM – 6 Feb 2018
  • 10 Retweets
  • 7 Likes
  • Laura WilkinsonDamian HarrisLiz ChapmanLouise TondeurLouise AmosBridget WhelanIvy Ngeow15 MinutesZeno Literary Agency
1 reply10 retweets7 likes
  1. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet

    #shortstories are a particular form, good ones are not practice for writing a novel. Don’t send the first chapter of your novel (or a bit from the middle) into a comp as a #shortstory. We can spot it a mile off.

    1 reply3 retweets2 likes3
  2. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet

    If you want to write them, read them. Read William Trevor, Raymond Carver, Flannery O’Connor, read @saltpublishing ‘s #bestbritishshortstories, read books on craft like the @Writers_Artists one.

    2 replies 4 retweets 6 likes
  3. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet

    If you are subbing to a comp or a journal read the latest copy, the previous year’s anthology.

    1 reply1 retweet 2 likes
  4. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet

    Write! Practice makes perfect. Find other writers that you trust and workshop the hell out of it. Set deadlines. Meet regularly. Have enough awareness to know you don’t have to do everything they suggest but if 2 people point out a problem – it’s definitely a problem.

    1 reply2 retweets1 like
  5. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet

    When you send your story into the wild, make a note of it but then forget about it. Don’t check mailbox every hour. Everyone who sends something to @BridportPrize or @GrantaMag thinks they will be successful. The odds are against you. A shortlisting is pretty amazing.

    1 reply2 retweets3 likes
  6. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet

    Winning a prize is usually down to luck. Just write the best story you can. Even with a great plot, dialogue, characters, descriptions winning is down to the personal preferences of the judges/editors.

    1 reply2 retweets3 likes
  7. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet

    Don’t contact them and ask why you weren’t selected. Don’t insist they’ve made a mistake – this will make you memorable, but not for your writing.

    1 reply2 retweets2 likes
  8. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet
    More

    Build an online presence as soon as you begin your career. Be active on Twitter/Facebook/Instagram. Interact with the community. It’s where you’ll meet people going through the same as you are and where you’ll get submission news.

    1 reply2 retweets2 likes
  9. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet

    You should be spending at least as much time editing as writing.

    1 reply1 retweet2 likes
  10. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet

    Talking of editing, as you become more successful you will be professionally edited – get used to it. An editor just wants to make your work the best it can be. The first time your work comes back with mark-ups it can be a shock but it’s not personal, it’s a negotiation.

    2 replies3 retweets3 likes
  11. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet
    More

    Read your work aloud. It is probably the best way to edit. Then read aloud at events. It’s scary but you connect with readers and increase your visibility and confidence. @rattletales is looking for subs to @brightonfringe now! www.rattletales.org

  12. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet

    Rejection is only experience. If you seriously want to give up after a handful of rejections maybe you should. Submitting short fiction is not for those who are easily discouraged.

    1 reply3 retweets4 likes
  13. 15 Minutes‏ @ErinnaMettler 4h4 hours ago

    Hootlet

    I’ll be talking about this and more at #writebythebeach. There will be talks from best-selling authors, workshops, panels and 121s with top literary agents!

    http://bit.ly/2hvNIi9

     

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Tears In Rain – The First Time I Saw Blade Runner

04 Wednesday Oct 2017

Posted by erinnamettler in Fifteen Minutes, Memoir, Uncategorized

≈ Leave a comment

Tags

Blade Runner, Blade Runner 2049, family, film, Harrison Ford, inspiration, Memoir, Phillip K Dick, Sci-fi, The British Film Institute, Vangelis, writing

Blade Runner 2049 is almost upon us and I can barely conceal my excitement. Blade Runner is one of my favourite films. They better not fuck it up; but going by the trailers and previews it looks like they’ve managed to get it right. We’ll know for sure on Friday. When I’m not working on my novel, or marketing my collection, I’ve got a sideline in movie memoir. I’m collecting together pieces about films I’ve seen with family. Here’s a shortened version of the one about Blade Runner.

Tears In Rain – The First Time I Saw Blade Runner

We made and odd couple, my Dad and I, walking into the dilapidated late night cinema. I was fifteen and he was in his mid-fifties. I had Sun-in hair and too much black eye-liner, waif-like in the way that only teenagers can be, while he was tall and solid, his bulk made bigger by his sheepskin coat.  It was winter 1982 and we’d gone to a midnight screening, both of us wanting to see different films on the double bill. In 1980s northern England there no instant movie streaming like there is now; if you wanted to see an obscure American movie you had a window of about a fortnight and even then only at selected cinemas. If you missed this opportunity you sometimes had the chance to mop it up at a repertory screening. And so it was that Dad and I braved the Yorkshire winter to go and see a double feature of Blade Runner and Firefox. You’ve probably only heard of one of those films, and with good reason, but in December 1982 I first had to sit through Clint Eastwood’s mediocre cold war offering in order to experience one of the greatest films ever made.

I was a film mad teenager. I consumed movies the way other people ate food – they were necessary for my survival. Severe hip-dysplasia had meant a childhood of surgeries and immobility. I spent a lot of time watching television, lying in bed or, when I was feeling up to it, on the sofa in the lounge, from which I’d watch mid-morning reruns of classic Hollywood movies. I was born late to my parents, my mum was 46 and my Dad 40, we were not just one but two generations apart. A love of cinema helped Dad and I bond. He introduced me to all the greats, John Ford westerns, Busby Berkley musicals, screwball comedies. He liked both Marylin Monroe and Ingrid Bergman, James Stewart and Robert Mitchum. His all-time favourite was Humphrey Bogart. I suspect that as a young man he’d been told he looked like the morose movie star because he often emulated his idol; in any given film Dad knew many of Bogart’s lines by heart and often wore a Philip Marlow mackintosh and chewed a match. There was indeed a striking resemblance. Dad had the same pleading eyes and thin upper lip, a square jaw and a slightly dissatisfied expression. We’d watch the movies together over and over; Key Largo, The Big Sleep, The Maltese Falcon, To Have and Have Not, The Caine Mutiny and, of course, Casablanca.

Most of the films we watched were on TV, trips to the cinema were rare, especially as I moved towards adulthood and away from a love of Disney. I began to go with friends to see modern horror movies and comedies. I’d read about Blade Runner in my beloved film magazines and was intrigued – a sci-fi movie in film noir style!  I watched for the listings at my local cinema but it never appeared. I’d just about given up hope of seeing it when I saw the ad for the double bill in Leeds. I showed it to Dad knowing he liked Clint Eastwood and to my surprise he said we could go.

‘It was strange thing to do,’ said my sister, home from college a week later, when I told her about it. It had been an experience. As you can imagine, those attending a Saturday midnight screening were not the usual cinema audience. It had been freezing outside, a few scant snowflakes making an appearance as we walked up the stone steps to the old-fashioned picture palace, slightly out of town. The doors were art deco, their brass handles worn from the many hands that had held them open. Inside we were hit with a blast of acrid heat and the odour of stale popcorn mixed with cigarette smoke hung in the foyer. The bored looking woman at the box office eyed us suspiciously as she sold us our tickets. We opted for the balcony because they were the best seats in the house. There were a few single men dotted around the aisles, some obvious junkies in from the cold and a row of drunk students at the back. Firefox was on first. It had a ridiculous cold war plot about Clint Eastwood stealing a spy plane from a Russian airbase. My Dad loved it, I watched his face more than the film, saw the delight on it, the joy when the hero saved the day.

‘That was fantastic!’ He declared and nipped out for a cigar in the interval, leaving me to sip my cola and stare at the patched velvet curtain closed in front of the screen, even at that age aware that it would not be a good idea to catch anyone’s eye. He arrived back in his seat just as the camera panned across Los Angeles 2019, accompanied by the first notes of the Vangelis score, and I decided that I was going to be a film director.  I sat open-mouthed throughout. Here was a movie that had managed to incorporate all my beloved classic films into something shiny and new. It felt like it had been created specifically for me. I must be the only person who likes the original voice over version the best because it’s the most like those old Bogart movies my Dad loved so much. Dad wasn’t so keen. He snored softly at one point. Afterwards as I enthused he said it thought it was ‘a bit boring and so damn dark you couldn’t see anything’. Within a week I’d dyed my hair auburn, started smoking and wearing vintage clothes and put the poster on my wall. I still have an antique VHS version of the film somewhere, though nothing to play it on.

I never became a film director. But I did study film at University and managed to get a research job at The British Film Institute in London where I stayed for fifteen years. During that time I went to West End premieres, special preview screenings and Q&As with famous directors but still nothing beats that screening of Blade Runner in terms of raw cinematic experience.

Now I’m a writer I use cinema a lot in my work. I often write about people going to the cinema, using the way they respond to certain films as a way of developing character. In my current collection (15 Minutes) I have two stories in which films feature heavily. The first is Lost In Translation which sparks an unhealthy Scarlett Johansson obsession in my protagonist and the second features a teenage boy obsessed with Blade Runner. He listens to the soundtrack, talks like Deckard’s voice over and smokes unfashionable Marlboros.

As we walked from the cinema in the pre-dawn, the snow had turned to rain. It pattered on the car windows on the silent drive home, windscreen wipers creaking.  Dad concentrated wearily on the road ahead while I watched the city lights flick past and imagined that I was riding into the unknown with Deckard, searching for immortality. My Dad is no longer with us. I often think of the night we went to that midnight screening. I sometimes imagine the times he went to the cinema as a young man, on dates, to shelter from the rain or just because he wanted to catch the latest Bogart before anyone else. Only he knew about those times and now they are gone – moments lost in time, like tears in rain.

blade_runner

 

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Listen To Your Editor

22 Wednesday Mar 2017

Posted by erinnamettler in Fifteen Minutes, InThe Future Everyone Will Be Famous For Fifteen Minutes, Unbound, Uncategorized

≈ 2 Comments

Tags

amwriting, anthologies, books, craft, creative writing, criticism, crowdfunding, ediotrs, editing, feedback, Fifteen Minutes, publishing, Rattle Tales, short stories, short story collections, The Brighton Prize, writing

I am currently co-editing an anthology of short fiction. I also supplement my paltry writers’ income with freelance editing projects. I’m not a proof reader; the edits I offer are structural, though I will pick up on any punctuation that has gone awry.  Editing is something I enjoy. The idea of helping a writer to perfect their work makes me happy but I also find that editing other people’s work makes me a better writer. Editing not only raises my awareness of common writing pitfalls, it also reminds me to put away the resistance to criticism that all writers experience.

I’ve been lucky enough to have been on the receiving end of dedicated and improving edits for both my books. Uppermost in my mind is my collection of short stories, Fifteen Minutes, which has recently undergone several in-depth edits with Unbound Publishing. This was an amazing learning curve and the book is vastly improved as a result. When the first edit arrived I opened a manuscript which was literally covered in red marks and comments. My editor had forewarned me that this was normal in her email but even so it was quite a shock. I have had short stories edited professionally before, for publication in journals like Rip Tide and The Manchester Review. The editors of those journals did brilliant job and, yes, each manuscript was covered in crossings out, with sentences shifted and lengthy comments inserted. Again, I was a bit shocked by the extent of the mark-ups.  For a moment I wondered if the writing was any good after all.

This seems to be a common experience for most writers. When faced with a manuscript covered in mark-ups and comments we tend to take it personally. The self-doubt nags, we mutter things under our breath like, ‘obviously they haven’t read it properly,’ and, ‘they wouldn’t know a joke if it got up and bit them.’ What we forget is that as writers we can become too immersed in a piece to see the flaws and the gaps. The writing is obviously great or it wouldn’t have been selected for publication. However, the editor has read it more closely than anyone else ever will. Their mark-ups don’t mean that the writing isn’t good, just that as the writer we have become too used to what we have written. We think that because we can picture it in our head our readers will be able to too. This is not always the case. If an editor points something out as not being clear, and you have to use a paragraph to explain to them why it is clear, the editor is right and you are not.

Obviously editors are not infallible. This is why they often work in pairs. The first edit of Fifteen Minutes suggested alterations that the second editor then suggested should be changed back. At this point it was up to me to decide which worked best. Often it was the original – but not always – sometimes it was something completely different. You can always negotiate. If you truly believe that your piece is better without the changes, that the reader you have in mind will know exactly what you mean, then go ahead, argue your case. What is interesting is that as you progress in your career you will get comments such as ‘still not clear’ from a professional editor a third or fourth time no matter how much you plead. If this happens you have no choice but to adhere to their suggestion. If you are arguing about the placement of commas and the cutting of single words you are being too precious. Go with what the editor suggests; it’s what they do for a living. They know what they are talking about. The real shock will come when you get your proofs back and realize you know nothing about punctuation!

For further information on my freelance editing services please email erinnamettler@gmail.com I specialize in shaping up short stories for publication or competition but I have edited full-length manuscripts from children’s books to spy thrillers.

editing

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Shona Kinsella Talks World Building

20 Monday Feb 2017

Posted by erinnamettler in Uncategorized

≈ 1 Comment

Tags

Ashael Rising, books, ebooks, fantasy, inspiration, Shona Kinsella, Unbound, Unbound Digital, world building, writers, writing

One of the great things about crowd-funding through Unbound Publishing is that there is a real sense of community amongst the authors. We all keep in touch via a private Face Book group, swap news of achievements and frustrations and give each other tips on all aspects on writing and publishing. Sometimes we even meet up, as a few of us did at Unbound’s fifth birthday party in November. They’re a great bunch and today one of them is the first guest contributor to this blog. Shona Kinsella, who has just released her brilliant fantasy novel Ashael Rising, gives some tips on world-building that are very useful for writers of any kinds. Personally, I’m a pantser that stops halfway through for a bit of obsessive map drawing!

Approaching World-Building by Shona Kinsella

One of the most enjoyable and challenging parts of writing fantasy is the world-building. There are fantasy writers who spend years creating a world before they feel ready to write a story set there. They have maps, detailed histories, notes of the flora and fauna and knowledge of political factions in every country – but they don’t have a book.

I’m very different from this. I’m what is sometimes known as a pantser (as in flying by the seat of the pants) although the term I prefer is discovery writer. What this means is that I discover the story, and the world, as I write.

When I sat down to write Ashael Rising, I knew very little about KalaDene. In fact, it didn’t even have a name until the third draft or so. My world-building was all done as I went along. I once heard an excellent description of the process; it explains just what it feels like to me so I’m going to share it here. World-building is like walking through a tunnel (the world) with a torch (the story) so I can see as much of the world as the story shines a light on and a little bit around the edges but everything else is just fuzzy shapes in the darkness, with maybe a puff of cool air indicating that there might be a door to somewhere else off to the left.

There are advantages and disadvantages to both approaches. For example, sometimes I could spend most of a day’s writing time trying to figure out how the limits to the magic system worked or whether the climate I’ve described would support the plants that I have my characters eating. That’s not a particularly efficient use of my time and would not have come up had I built my world in advance. On the other hand, people who have created an entire world before writing a book will often find that they have wasted time in building details that they do not need for the book – time that could have been spent writing.

It also means that I made substantial changes between my first and second drafts, tightening up world-building details, as well as improving the plot, and fitting in things that I changed or introduced over the course of writing the first draft. My understanding is that this is common for discovery writers while people who have plotted and world-built in advance will often have something close to the finished work at the end of their first draft. This probably balances out though – they spend the time up front, before they start writing, and I spend it at the other end.

One of the things that I like about my approach is the massive amount of flexibility it gives me. If I find myself inspired by something I see on a nature documentary (something that happens more often than you might think) I generally have space to work it into my world somewhere. I already have a few notes to myself about elements I’d like to fit into book two.

The only major drawback that I’ve experienced is that, since I make things up as I go along, I have no idea what will end up being important and I must try and keep the elements of an entire world straight in my head – something the planners don’t have to do. I have taken to keeping a world-building file open while I write, somewhere to make notes of characters that I’ve introduced, plants that I’ve made up along with their uses, distances between places and so on. The thing is, I’m pretty bad at actually updating the file. While I’m writing, I’m too involved in the story to keep stopping and starting and switching files. More than once I’ve found myself having to search back through the text to check how I spelled something a few chapters ago or whether or not I said a particular plant was poisonous or what someone’s name is. Again, not the most efficient use of my time. Still, efficient or not, it is the way that works for me and it’s the way I’ll continue to work for the time being.

ashael-rising-cover

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The Greatest

04 Saturday Jun 2016

Posted by erinnamettler in InThe Future Everyone Will Be Famous For Fifteen Minutes, Short Stories, Uncategorized

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Alzheimer's, Andy Warhol, Bowie, boxing, Cassius Clay, celebrity, Henry Cooper, memory, Muhammad Ali, publishing, Unbound, writing

It is Saturday morning and I have woken to the news of Muhammad Ali’s death. The TV and radio are full of iconic clips and interviews. My short story collection is fast becoming a book of the dead. Many of the celebrities in it are no longer with us.

There is a story in it about Ali. It was one of the first sucessful stories I ever wrote, unexpectedly runner up in a competition and published in an Australian literary journal. It is about a boxer with Alzheimer’s and the doctor treating him. The doctor remembers being taken to see Cassius Clay fight Henry Cooper in 1963 when he was a little boy. My Dad loved Muhammad Ali and the story is inspired by his own difficult descent into dementia. Even now I can remember watching the Parkinson interview with Ali in the 1970s and my Dad explaining why it was so important. I couldn’t have been any more than six or seven years old. The story is about memory more than anything, but it is also about witnessing an early victory from an individual who would go on to change the world. Ali became the most famous man on the planet and the doctor in my story never forgets seeing him in a moment of transformation – becoming the butterfly.

I did think that the celebrities in my  book were all perfunctory to the main characters but, in some cases, they prove to be a catalyst for change.  Ali, Bowie and Andy Warhol all influence the characters for the better and actually set them onto a path of becoming something else. Celebrity culture is not all bad. It’s funny how you can think you are writing one thing when actually you are writing something else. The influence some people have on the world goes beyond celebrity, they transcend sport or art or music and change humanity for the better.

Earlier this week I was interviewed by The Short Story and the resulting article explains quite a lot about In The Future Everyone Will Be Famous For Fifteen Minutes. Please share with anyone you think might be interested.

If you know anybody who is looking for a creative writing mentor, or anyone who would like to take part in a workshop, I am offering these as pledging options. We are so close!

1833705235-Muhammad-Ali

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Unbound Diary Part 11 – Almost There!

01 Wednesday Jun 2016

Posted by erinnamettler in InThe Future Everyone Will Be Famous For Fifteen Minutes, Short Stories, Uncategorized

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competitions, crowdfunding, literature, mentoring, publishers, Riptide Journal, short stories, short story appraisals, starlings, submissions, The Bristol Short Story Prize, The Fish Short Story Prize, The Manchester Review, Unbound, workshops, writers, writing, writing workshops

A lot has happened since I last blogged here. I was stuck around the 45% mark for what seemed like an eternity, thinking that I was never going to get this thing funded. Last week I had a conversation with a Twitter friend, the fab short story writer Safia Moore, who not only pledged to the book but suggested that the pledge options I should be pushing were the ones for large sums, the short story appraisals and mentoring packages. She pointed out that I am the director of a short story prize, have been short-listed in a few myself, and am a tutor! She is of course right on all counts. It’s funny how when you are in the middle of something you can’t see it for what it is. I started pushing these options on social media and so far someone has pledged for £400 of mentoring and four people have pledged for short story appraisals. I suddenly find myself 81 % funded, so thank you Safia for reminding me of what I have to offer!

If you keep getting nowhere when sending out short story submissions, or entering competitions, perhaps you could do with a little help from the director of a prize, who has been published in Riptide and The Manchester Review and short-listed for The Bristol and Fish prizes. I am an experienced tutor, mentor and editor with an MA (dist) in Creative Writing and an acclaimed novel.

On offer as part of crowdfunding for In The Future Everyone Will Be Famous For Fifteen Minutes are:

Short Story Appraisal up to 5,000 words with full edit and notes – £100

Mentoring,  4 face to face sessions (skype, email or phone for those too far away) up to 20,000 words with full edit and notes. This can be part one manuscript or several short stories. £400

2 hour Short Story Workshop for 5 people (South East and possibly Yorkshire) £200

These packages are offered at a much lower price than my usual rate and at a much lower price than most literary consultancies. Not only will they greatly benefit your writing but you will facilitate the publication of a book of short stories that would not otherwise be published.

You could of course just prove all the people who think short stories aren’t worth publishing wrong and pledge £10 in support of the book. You will be a patron of the arts and I am so very grateful that so many of you have already done so.

Creative-writing-courses--007

 

 

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Unbound Diary Part 8 – A Medieval Knight With An I-phone

05 Thursday May 2016

Posted by erinnamettler in Brighton Festival, InThe Future Everyone Will Be Famous For Fifteen Minutes, Rattle Tales, Short Stories, Uncategorized

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Beach Hut Writers, Brighton, crowdfunding, crusades, dreams, Exeter Street Hall, medieval, Myriad, Myriad Editions, publishing, Rattle Tales, reading aloud, short stories, spoken word, Umi Sinha, Unbound, writing

As I write I am 44% funded. This means that well over a hundred of you have supported my book. To my new supporters I want to say a massive thank you, you are making this happen. I have until the end of May to reach 198 pledges, it’s time to take it up a notch.

Regular readers will know that I am a Director of the spoken word group Rattle Tales. We have a show coming up at Brighton Fringe Festival and we’re selecting stories for it now. Last night I had a dream that only five people turned up to our show. Our previous Fringe shows have all been sold out, sometimes we’ve had to turn people away, and the show has been a Pick of the Fringe by The Independent newspaper. It’s extremely unlikely that no one will turn up. In my dream not only did no turn up but I forgot my story and when I tried to phone home to get someone to bring it to me my i-phone snapped in two, the venue staff were busy jousting in the back garden and the only person in the bar was a medieval knight dressed in crusader armour – he didn’t know what an i-phone was.

I’ve been trying to analyze this dream all day. I think it’s to do with the event I did recently to an audience of seven. It’s definitely to do with asking people to pledge to my collection and most of them resembling a medieval knight with no knowledge of i-phones when asked. Lots of people have said they are happy to help and will definitely pledge but then don’t. Some people have been very affronted to be asked. In response to a recent mail-out through Rattle Tales one person accused us of begging and hoped the project failed. You can just ignore the request you know, or just say no. I’m not begging. I’m asking you to choose to buy a book in advance, in much the same way as you would choose to buy a book in a book shop – you don’t have to but you might want to. The same mail-out brought me ten new pledgers and for that I am very grateful

I have a few events coming up and I really hope that a. people will come and b. some will pledge to the book. I will be appearing at Exeter Street Hall on May 13th with lots of other Beach Hut Writers, ten in fact, all talking about the when, why and what of writing for a living. I’m also going to talk at Brighton University on May 10th with the author of Belonging,  Umi Sinha, and Vicky Blunden from Myriad Editions and then I will be reading Sourdough (recently published by New London Writers) from In The Future Everyone Will Be World Famous For Fifteen Minutes at the Rattle Tales show on May 26th. Please come along to any or all – don’t leave me alone with the medieval knight.

For the rest of the week I will be sending out press releases, pitching articles and generally trying to get my book notice in the hope of attracting more pledges. Thanks again to my new supporters – you really are making a difference!

Knight

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Contact me

For review copies of Fifteen Minutes, details about mentoring and anything else – erinnamettler@gmail.com.

Starlings long listed

Starlings has been long listed for the 2012 Edge Hill University Short Story Prize in a year with a record number of entries, sharing company with entries from Edna O'Brien, Hanan Al-Shaykh and Robert Minhinnick.

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Erinna Mettler

Erinna Mettler at the Neptune

Erinna Mettler at the Neptune

Starlings

Starlings on the shelf in Waterstones

Starlings on the shelf in Waterstones

Clarkson was good

Image of Clarkson was good

CLARKSON WAS GOOD published in THE TRAIN IN THE NIGHT AND OTHER STORIES published by Completely Novel in 2010.

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