Friday 1 July 2016

The rewards of variety, and a sobering commemoration

I thought my life was already sufficiently rich and varied: running my editorial consultancy, Fiction Feedback, providing critiques and editing services to novelists.

Then early this year I was asked if I could take over as Director of the Crime Writers Association in a temporary capacity. What an experience! The learning curve was so steep I needed crampons and it was incredibly stressful getting to grips at first; managing membership databases, responding to both internal and external correspondence, organising the annual conference, writing and posting content to a variety of websites and e-newsletters and organising several competitions. Now I've been able to hand some of the work to a newly appointed management company and keep the secretarial and website/newsletter aspects: perfect. So I still have the fun of working in such a stimulating environment with crime writers and their publishers and agents, but have clawed back my time so other aspects of my work don't suffer.

On the contrary, they are enhanced and reinvigorated by what I've learnt and by my renewed enthusiasm: it's like I've pressed 'refresh' on my whole working life.

I'm currently working on two copy-edits with three more due in and two structural edits. And all the while, continuing to act as Secretary for the CWA. What fun!

The novel I copy-edited just before I began working with the CWA has now been published and it seems apt to share, as by a strange quirk of fate I met the author, Jason Monaghan, through the CWA some years ago - although this novel isn't crime. It's called Glint of Light on Broken Glass and is about three young people growing up in Guernsey just before and during the First World War. It's a romance, but much more than that; it casts light on why we all make the choices we make, how much free will we really have and how much circumstances, family and even our empathy with the world around us affect our decisions. It's beautifully written, I'd recommend it. It seems especially appropriate to do so today (1 July 2016) when we commemorate the lives lost in the Battle of the Somme. Today's upheavals and political crises pale into comparison with what went on one hundred years ago, don't they. 

Sunday 14 February 2016

Calling All Crime Writers

Do you like writing crime fiction? Are you looking to be published, or at least noticed by the industry? If so, there are two competitions run every year by the prestigious CWA (the Crime Writers’ Association) that might appeal. You’ll need to be quick, though.

Debut Dagger
The first 3,000 words of a crime novel and a maximum 1,000-word synopsis.  Entry fee: £30 + VAT. Prize: £500 and an assessment for all shortlisted entries. Deadline: 28 Feb.

You must be an unpublished author and the novel or extract must not have been published in any form.

Don’t be put off by the entry fee. If your extract gets through the first stages and is presented to the judges, you’ll find it’s an amazing way of you and your work becoming known to literary agents, respected crime authors and publishers. Offers for representation and of publication have been made on shortlisted work in previous years, so please consider this competition if you’re at all serious about a traditional publishing contract.

Margery Allingham Short Story
A story up to 3,500 words encapsulating Margery Allingham’s belief about what a mystery story should be ( see link below). Entry fee: £15 + VAT. Prize: £1,000 and passes to CrimeFest 2017. Deadline: 1 March.

The same as for the Debut Dagger applies about agents, authors and publishers reading your work.

You can be a published author, but this story mustn’t have been published in any form.

Dea Parkin, the Editor-in-Chief of Fiction Feedback and author of this blog, is currently working for the CWA on a short-term contract. I strongly recommend you to enter the competitions if either suit; they really are an excellent opportunity of getting noticed. Almost all the country’s top crime writers are in the CWA, and many editors, publishers, agents, bloggers and critics are associate members. Go for it!

Wednesday 17 June 2015

Prizes and Why Aiming to Win Them Is A Darn Good Idea

One of Fiction Feedback’s authors, DJ Harrison, has his crime novel Limited Liability currently shortlisted for two awards with a book promoting company, Books Go Social. If you’re tempted to go all sniffy, remember that prizes wherever they’re found mean brownie points – prizes, however small or seemingly insignificant, boost the confidence and self-esteem of the author and provide massive opportunities for publicity that can’t be ignored. Subsequently, they garner attention, and whether that’s of readers and would-be buyers of your book or of literary agents and publishers, that’s surely the name of the game today. (If you’d like to look at the award shortlist and maybe vote for Dave’s book, the link is: Voting closes on 25 June.)

Another of Fiction Feedback’s authors, who has had several of his works critiqued by us, has written a Guest Post for us about prizes. David James, author of The Confessions of Becky Sharp (a raunchy and delightfully readable prequel and sequel to Thackeray’s Vanity Fair), is a respected academic and author of six novels. He is also the promoter of the Quagga Prize for Self-Published Literary Fiction, which he himself set up in 2014 to reward the self-published non-genre author. This year’s deadline for the annual reward is at the end of this month, 30 June. The nice thing is, if you’ve missed that but think oh well, my book was published this year, it won’t be eligible for next year’s prize, then you can smile and think again: the Quagga is open no matter when the book was published.

Confessions is itself in the reckoning for a prize with the Historical Novelists Association – good luck, David, and thanks for this fascinating post.

Guest Blog by David James

Small Prizes: The Way Ahead

Why go in for Prizes?

I write to please myself, not for others. We’ve all heard that mantra, and many of us believe it. But there are prizes out there, some very large, many quite small. And in your heart of hearts you know you covet recognition: a good review, a warm response, a pat on the back. Above all you want readers – apart that is from friends and family.

However, I do get a little tired of reading about ‘award-winning’ authors and wonder about the nature of the award, not to mention whether the award is for this book or one of the writer’s earlier efforts. Once an award winner, always an award winner! Nevertheless, I must be at least marginally impressed. For the small-time author, such an accolade is a great comfort. For the apprentice writer it’s the first step on the road to what we think of as success. Even to be short-listed is a treasure in itself.

Yes, there are hundreds of prizes and awards of all kinds advertised on the net, but there are also thousands of writers, both seasoned and neophyte, and the number grows by the minute. Unless you are already attached to a publisher or are backed by a reputable agent or a well-known sponsor, the Booker is out; in any case Rule 3(d) clearly states ‘self-published books are not eligible where the author is the publisher’.

But to come down to earth: James Minter gives a useful list of Fifty Book Awards Open to Self-Publishers. This could be a good place to start your search. All genres and types of writing are open to budding writers here, from the prestigious ForeWord, the Ippy and the Rubery awards to flash fiction, cookbook, first novel, first chapter and even prizes for the first page. So don’t be shy about entering. We all have to begin somewhere.

Unless you are submitting to your local writing group’s monthly or yearly prize you should expect to pay an entry fee. After all it takes time to read and assess the value of a book or even a flimsy manuscript. Fees naturally vary enormously, from gratis to $80 per title; and so do the prizes, from an offer of journal publication to the Writers’ Digest 23rd Annual Writing Competition for Self-Published Book Awards topping the list at $8,000.

Of course it’s a rule of thumb that the higher the fee, the higher the sought-after prize. Winners of high profile Gold or even Silver medals are frequently garlanded with offers of book deals, free air passages to attend humungous ceremonies, with much bolstering of ego and promises of gold in store. But the most your also-ran can expect is a book report – of vastly varying quality in my experience. Thus a judge of my road novel Paris Bound had clearly not read much of the book, spending all his time savaging the cover. By contrast, five years later the same company awarded me 100% in 4 out of 5 categories for my novel about a girl boxer, Punching Judy. Prize-hunting is a bit of a lottery. One man’s meat and all that.

Rejection is par for the course, so you have to get used to it. There may be many reasons why your work doesn’t quite hit the mark, including the obvious one of your not complying with the guidelines. First, check past winners to ensure you have not submitted, for instance, literary fiction where crime or romance is the speciality. No point either in sending in manuscripts or galleys to Mom’s Choice Awards. Next, you should examine the credentials of the judges. Are they likely to be sympathetic to your subject or approach? Having checked that you have done all that the gatekeepers have demanded, take a close look at the judge’s report. The tastes and values of the judging panel may not be yours. If not, go elsewhere. Next time widen or even narrow your field. Or cut and come again.

The most obvious reason for rejection is often overlooked by the enthusiastic writer. It’s simply that your work is not good enough. That’s a tough thing to tell yourself, but it may well be true. Having accepted that fact, do you give up or try again, getting a little closer to the required standard? If you’re a writer of course you write; you revise, reshape or scrap. If you really believe in your manuscript or book you perhaps need to take advice from a fellow professional. There are plenty of literary consultants to be found on the net. They may well be able to set you straight. In this regard I found Fiction Feedback very helpful.

Book festivals are another avenue the serious writer might explore. There are hundreds of these spreading across the globe. Almost every major city seems eager to promote new writing, from Beverly Hills to San Francisco, from the Beach Book Festival to London, Paris and New York. Once again large prizes await the lucky winners and some of these festivals have as many as 40 different categories. More and more of these jamborees are now open to digital as well as paper books. Watch the dates and submit to as many as you can afford!

Far less prestigious awards, or simply publication on websites such as Authonomy, Youwriteon, The Book Shed or Year Zero Writers are ways of keeping in contact with other writers and readers. Random House and Orion review their Top Ten Budding Authors on Youwriteon monthly throughout the year. Listed authors can sell their books direct from the website. There’s always somebody looking for your book and as a writer these days there’s really no excuse for not having a go. This way you circumvent the traditional publishing process with its agonising delays in response time. You are in charge, you are respected and with a bit of luck you are even earning money.

So, although we may look up to the stars and envy those who have landed a six-figure contract for their book, the majority of us are struggling on the lower slopes of Mount Parnassus. We are for the most part the humble toilers in the field and need to accept that fact. That doesn’t mean that we don’t strive to make our work as good as possible, nor does it mean that we don’t shoot for the top prizes on occasion. But we accept the fact that sometimes small can also be beautiful.

David James is the Promoter of the Quagga Prize for Literary Fiction.

Many prizes insist on recent publication, often within the past year or two.  Quagga does not.   I believe that a book stands on its merits, and the common impulse to discover the new and latest is misplaced.  Unlike fruit, books do not rot; the best may go out of print but never out of style.

The Quagga Prize for Literary Fiction (£300) is given annually to the best novel submitted. If in doubt whether your novel qualifies as 'literary' (see Terms below) submit it anyway.  It  could well be  awarded  a  silver  medal  (£100)  or  receive  an  honourable mention (£50).

Entries are accepted from January 1 to June 30, 2015.  All entrants will receive an email acknowledgement on receipt and a Judge's Report in November 2015.  Shortlisted entries will be published here.