To celebrate the 120 years since Albert Curtis Brown founded his literary agency, and their authors past and present, Curtis Brown have just announced their inaugural Curtis Brown First Novel Prize. Tracy Chevalier, bestselling author of Girl with a Pearl Earring and Single Thread, will chair a judging panel formed of Curtis Brown Agents and the Curtis Brown Creative Team.
The prize is open to manuscripts, both finished and unfinished, across all genres of adult fiction. Entry is FREE, but must be online. Authors must be 18 or over and not represented by an agent.
Applications are open until midday on August 1st of this year, but the summer will slip past, so you might want to concentrate your mind now. There is even sufficient time to pen the 10,000-words required for entry from scratch.
A shortlist of six will be chosen for consideration by the judging panel.
The author of the winning novel will be offered representation by Curtis Brown, plus a prize of £3,000. The first runner-up will receive a place on a three-month novel-writing course and a mentoring session with one of their literary agent team. A further four shortlisted entrants will be offered a place on a six-week online course with Curtis Brown Creative and a mentoring session with one of their agent team.
To enter, send the opening of your novel, (up to 10,000-words, including any prologue), together with a single page synopsis (up to 400 words).
If you are not already aware of it, Curtis Brown produce an excellent newsletter, packed with advice and information. Currently it concentrates on how to perfect your submission, from format to the opening; from the synopsis to the title. Worth subscribing to, even if you don’t intend to enter this particular competition.
I suspect more than one member of ninevoices will consider this too good an offer to refuse.
Details and rules are available on http://www.curtisbrowncreative.co.uk/first-novel-prize and should be checked before entry. For example, they will not accept a manuscript which has already won a prize.
Since Curtis Brown are anxious to publicise this great opportunity, I don’t imagine they’ll mind me lifting the quote from their announcement:
‘Every book starts with a first line, every career with a first moment of inspiration.’
Boat Race, Cambridge, David Owen, Francesca Simon, George Monbiot, Hilary Benn, Iris Murdoch, Jo Brand, Joanne Harris, K-Tel, Kazuo Ishiguro, Michael Heseltine, Michael Morpurgo, Mortlake, Oxford, Philip Collins, Putney, Ranulph Fiennes, Robert Harris, Roger McGough, Simon Mayo, Tracey Thorn, Val McDermid
This weekend sees the annual University Boat Race – Oxford squaring off against Cambridge on the Thames between Putney and Mortlake. But this time of year also sees a more cerebral rivalry – their Literary Festivals.
The dark blue Festival is already under way (https://oxfordliteraryfestival.org/) . Oxford events started on Saturday 30 March and continue till Sunday 7 April. “350 speakers from 25 countries”. Performers or interviewees still to come include Ranulph Fiennes, Robert Harris, Jo Brand, Kazuo Ishiguro, David Owen, Michael Heseltine, Val McDermid, Joanne Harris and Michael Morpurgo. And many more, as they used to say on the compilation LPs they used to sell in the 1970s. (Were they on the K-Tel label?)
Turning a paler blue, the Cambridge Spring Festival (http://www.cambridgeliteraryfestival.com/) runs from Friday 5 April to Sunday 5 April. Like Oxford’s, the schedule is too full to list here, but it includes George Monbiot on A Plea For The Planet, Tracey Thorn on A Teenager in Suburbia, Forever Iris (“celebrating the centenary of a magnificent novelist”), Philip Collins on How We Can Fix Our Broken Politics, Francesca Simon on Horrid Henry, Simon Mayo on The Power of Storytelling, Hilary Benn MP on Finding A Way Forward, and Roger McGough with A Night of Poetry and Performance. And many more.
Two real feasts! So if you have the time this week, get along to one of these two ancient seats of learning. You’ll come back with inspiration for your own writing, and rather a lot of books …
It’s spring, hatch out a new story!
Entries are invited for the seventh Bath Short Story Award. Prizes are £1,000 for the winner, £300 for the runner-up and £100 for the third. There is a £100 prize for the best story by an unpublished writer and a £50 local prize. Stories should be up to 2,200 words and the entry fee is £8 per story. Closing date is 15 April. Details: http://www.bathshortstoryaward.org
Elizabeth Jolley Short Story Prize for stories between 2,000 and 5,000 words. Prizes: Aus $5,000, $3,000,$2,000, with $$2,500 divided between 3 commended. Entry fee is Aus $25 and the closing date 15 April. Details: http://www.australianbookreview.com.au
Bulwer-Lytton Fiction Contest Deliberately bad opening lines to novels, comic writing inspired by Edward Bulwer-Lytton’s notorious Paul Clifford opening, ‘It was a dark and stormy night…’ Prizes are modest, but receive considerable publicity. Free entry. Closing date 15 April. Details: http://www.bulwer-lytton.com
Billy Roche One Act Play Award for plays up to 15 minutes. Prizes: Euros 300, 200 and 100. Entry fee: Euros 10, Closing date: 19 April.
Grey Hen Poetry Competition for poems up to 40 lines by women who are 60+. Prizes: £100, £50, £25, website production. Entry fee: £3, £10 for four. Closing date: 30 April. Details http://www.greyhenpress.com
Dark Tales Short Story ongoing monthly competition for horror and sci-fi stories up to 5,000 words. Prizes: £100 each months, plus publication. Entry fee: £4. Closing date 30 April (last day of each month). Details: http://www.darktales.co.uk
Swanwick Writers’ School Competition for stories poems and writing for children on the theme of ‘close call’. Prizes: inclusive week at Swanwick Writers’ Summer School for each category winner. Writing Magazine manuscript appraisal for second winners; Writers’ & Artists’ Yearbook for third. Entry fee: £6. Closing date 30 April. Details: http://www.swanwickwritersschool.org.uk
Scottish Arts Club/Edinburgh Flash Fiction Award – 250 words maximum. Prizes £500, trophy, membership. Entry fee: £5. Deadline: 30 April. Details: http://www.storyawards.org/about-flashfiction
Please remember to double-check entry details before committing your time and money, in case I’ve got something wrong.
Meanwhile, good luck. There isn’t as long a list as usual, but why not try something different from your normal writing style – like the Bulwer-Lytton Fiction Contest? I didn’t think I could remember how to knit, but managed to cobble together those Easter chicks for a local Hospice fund-raising effort. They’re wonky, but managed to successfully hold a handful of chocolate cream eggs.
Easily the most popular of our historic posts is the one about Margaret Kirk’s winning entry to the Good Housekeeping 2016 Novel Competition: Shadow Man, a gritty Scottish crime novel.
So we were delighted when Margaret offered to give our followers advice from her own experience – especially as she is busy with the run-up to publication this summer of her second crime novel, What Lies Buried.
Here is what she said:
Do it Your Way – rewriting the rules to get yourself published
I enjoy reading the ‘Ninevoices’ blog, so when I was asked to contribute a guest post I was delighted to agree. Something cheering, I thought, in the midst of our midwinter blues – new year, new start kind of post, maybe? Ten ways to get yourself motivated, ten tips to taking your writing to where you want to be in 2019.
Then good sense intervened. Writing advice, from me? Really? I’ve only just finished my second novel, and I still count myself as a total newbie. I’m well aware that my route has not been the traditional one – I’d had some successes with short stories before I sent in my entry to the Good Housekeeping First Novel competition, but I had no expectations of actually winning it. And the publishing world is so unlike any environment I’ve encountered before, sometimes it feels as though I’ve landed in a country I’ve never heard of, where I don’t speak the language. With a road-map I can’t read.
So I’m going to turn this on its head. I’m going to look at the three pieces of writing advice I hear most frequently, and explain why I think they need to be approached with caution.
Write Every Day
Well, ideally, yes. Because there’s undeniably a certain consistency of thought, of image, that writing for a sustained period of time, day after day, can bring. But we all have lives, we all (and this is particularly true for women) have so many demands on our time. There is absolutely no reason to feel guilty/feel you haven’t got what it takes/feel anything negative at all if sometimes you can’t find the time, the mental space or the energy to write. This really is okay. When you do have the time and energy, the writing will be there, waiting for you. As someone who only started seriously in her late forties, I’m living proof of this!
Don’t Give Up
Tricky. No, don’t give up the writing, unless there are other things going on in your life (see above) and you need to take a break. But if you have a finished piece of writing you’ve submitted to agents/publishers/competitions, and it keeps getting rejected, then maybe you need to take another look at it. Have you received feedback on it, and if so, what did the feedback say? I’m not suggesting it’s automatically time to bin your work, but particularly if the same kind of feedback keeps cropping up, there may be something you need to take another look at. Sometimes just the smallest tweaks can make a huge difference!
Show, Don’t Tell
Meh. Yes, of course, Chekov’s ‘show me the glint of light on broken glass’. But this has become such a piece of dogma, sometimes we forget that most times, we’re trying to tell a story. And unless we’re writing the most esoteric of esoteric literary fiction, that means balancing the need to build atmosphere/set the scene with the need to move the story forward. Sometimes – and it took me some time to realise this – instead of agonising over every description, it is perfectly fine to say, ‘He opened the door, and went outside.’
Make sense? I hope so. But if you disagree violently with anything I’ve said, that’s absolutely fine too. Honest. Because there is no magic formula, no single way to achieve your goal (whatever it may be) that works for every writer. In the end, I think all that really matters is that you enjoy where the journey takes you.
Thank you, Margaret!
BBC National Short Story Award 2019, Evesham Festival of Words, Fish Publishing, Flash 500 Flash Fiction Competition, Henshaw Press Quarterly Short Story Competition, Neil Gunn Writing Competitions, The White Review Short Story Prize, Writer's Forum, Writing Magazine
What better time than spring to begin a new short story, enter a competition, or perhaps create a children’s book about the creature whose magical home is under this tree…?
The White Review Short Story Prize is for ambitious short fiction between 2,000 and 7,000 words by UK writers who have yet to secure a publishing deal. There is a first prize of £2,500, with the winning story being published in the print edition of the quarterly White Review. Shortlisted entries will be published online and their authors will receive feedback from The White Review editors. The entry fee is £15 and the closing date 4 March. For full rules and entry details: http://www.thewhitereview.org/prize
Neil Gunn Writing Competitions. Short story: 2,500 words max. Poetry: 40 lines max. Prizes: £500; £300; £200 in each category. Entry fee: £8. Deadline 8 March. Details: http://www.highlifehigh-land.com/neilgunn
Evesham Festival of Words Short Story Competition for writers aged 16-plus. 2,500 words maximum. Prizes: £150 plus trophy. Entry fee: £5. Deadline 22 March. Details: eveshamfestivalof-words.org/competition
Evesham Festival of Words Junior Competition for a story of 500 words max (age 8-11); 1,000 words (age 12-15). Prizes: £30 gift voucher plus trophy in each category. Details: eveshamfestivalof-words.org/competition
Fish Publishing Poetry Contest for a poem of 300 words. Prizes: 1,000 Euros; week at Anam Cara retreat; 200 Euros; top 10 published in anthology. Entry fee: 14 Euros, then 8 Euros thereafter. Deadline 31 March. Details: http://www.fishpublishing.com/writing-contests
The BBC National Short Story Award 2019, with Cambridge University, is open for entries until March 11. This prestigious award has a first prize of £15,000, and four shortlisted authors will each win £600. All winning stories will be broadcast on BBC Radio 4 and published in an anthology. Stories should be aimed at adult readers and up to 8,000 words. However, to enter writers must have a previous record of publication in creative writing (prose fiction, drama or poetry) with an established book publisher, newspaper, magazine, journal or periodical in the UK, or broadcast by a UK national broadcaster or content provider. Self-published work is not eligible. Entry is free, and each author may submit just one story. Full details from https://writ.rs/bbcnssa2019
Flash 500 Flash Fiction Competition for 500 words maximum. Entry fee: £5 or £8 for two. Prizes: £300, plus publication in Words with Jam; £200 and £100. Details: http://www.flash500.com
Henshaw Press Quarterly Short Story Competition for short stories of 2,000 words. Prizes: £100; £50. Deadline end March. Details: henshawpress.co.uk
Not a vast field, but there are always other, themed, competitions run by Writing Magazine and by Writers’ Forum which you can enter – some of which are open to non-subscribers.
As always, please remember to double-check the latest entry details before pressing that ‘send‘ button.
[My picture, incidentally, was taken last Tuesday, at Scotney Castle, in Kent. Bravo for our wonderful National Trust, and the wit they show in the notices displayed for visitors…]
In a radio talk recorded in February 1978 and transmitted on BBC Radio 3 in April, less than two years before she died, Barbara Pym described a favourite television quiz game, where panellists were asked to guess the authorship of certain passages read out to them. ‘There were no prizes for guessing, no moving belt or desirable objects passing before their eyes, just the pleasure and satisfaction of recognising the unmistakable voice of … whoever it might be. I think that’s the kind of immortality most authors would want – to feel that their work would be immediately recognisable as having been written by them and by nobody else. But of course it’s a lot to ask for!’
It might be, but Barbara Pym’s voice is entirely and delightfully unmistakable; it’s unlike any other author, however longingly we search. There just isn’t enough of it for us readers – if only she’d written more! Blame her publishers who rejected her seventh novel An Unsuitable Attachment in 1963. Thank goodness she went on writing during the following fourteen years of rejection – though probably not as much as she might have done…
One of the joys of Barbara Pym’s novels is the way characters reappear. They are our old friends… Here in WRITINGS is a short story written as a light-hearted tribute to Barbara Pym featuring some of them: Tread Softly in the Ladies.
If you’re a writer, budding or established, do you spend enough time doing nothing, do you take time to stop and stare? Do you ever just sit or lie there, and look at the view?
No less a giant than Byron did just that. On this tomb in the churchyard of St Mary’s church in Harrow-on-the-Hill. It was presumably in better repair then, and without the railings subsequently put on because of the very fame he had brought it. Its occupant was “John Peachey Esq, of the island of St Christopher’s”, who has thus gained prolonged and unintended fame because of his grave’s location and the identity of its famous lounger.
According to a picture in the guide to the church, Byron lay on it propped up on his elbows. This looks uncomfortable, but it seems he lay there for hours, looking at the view, for when addressing the elm that was then above the grave he wrote,
“Thou drooping Elm! Beneath whose boughs I lay,
And frequent mused the twilight hours away …”
A plaque at the spot says, “In school he was known for his witty epigrams and satires, but it was here, surrounded by reminders of mortality, that he invoked a more melancholy and reflective muse.”
He was a pupil at Harrow School at the time (from 1801 to 1805), so either he just played hooky when he should have been inside doing his homework, or noble scholars like him didn’t have homework to bother with. The plaque says that he came here “to escape the restraints of school life”. The guide to the church does say that “he was rather an erratic student” at Harrow, and that he “was a ringleader in a lot to blow up George Butler who the boys did not want as Head Master”, so perhaps the teachers were quite happy to let him lie for hours in the churchyard …
His poem “Lines Written Beneath An Elm In The Churchyard Of Harrow” can be found at http://www.famouspoetsandpoems.com/poets/lord_byron%20/poems/5989. The first verse is reproduced on the stone at the front of the tomb, put there in 1905 by the son of one of his school friends.
“There is a spot in [St Mary’s] churchyard, near the footpath, on the brow of the hill looking towards Windsor, and a tomb under a large tree (bearing the name of Peachie, or Peachey), where I used to sit for hours and hours when a boy. This was my favourite spot …” He wanted Allegra to be buried in the church, with a stone memorial bearing his own composition, but his reputation was so bad that the Rector and churchwardens refused his request and buried her in an unmarked grave. Today there’s a memorial to her near the south porch. (An account of this little girl’s sad life can be found at https://darkestlondon.com/tag/harrow-on-the-hill/. Warning: Byron does not come out of this well.) Here’s the view towards Windsor:
So, o writers ye, you are allowed to take time off just to gaze and muse. You don’t have to always be checking your e-mails or honing your synopsis. But where do you do this? In a churchyard like Byron? In your local park (will there one day be a plaque on a bench saying “This was Lavinia’s favourite spot”?)? On a country ramble? Do tell …
Courtesy of the wonderful British Library, we give you ‘A map or chart of the road of love, and harbour of marriage’, published in 1748.
Marriage, apparently, was a popular subject for spoof cartography in the eighteenth century, with this example containing ‘some sly double meanings’, if your eyes are sharp enough. You have been warned…
The British Library website is a treasure trove. Do take a look some time.
Albert Finney RIP – I think I read Saturday Night and Sunday Morning before I saw the film (it will have had an A or an X certificate and I wouldn’t have been old enough to get into the cinema) but remember realising that the novel was something different. And Albert Finney on film as Arthur Seaton was, well, definitive. (I don’t know where my own copy now is, but seeing that old Pan paperback pictured this week I noticed that it really did say on the front “Makes Room at the Top look like a vicarage tea party”: I’d thought that that was just a cliché, but no, it was really used.)
An aunt took me to see Tom Jones at the cinema – another amazing Finney performance – and my copy of the book has my name and ‘1966’ written in it in her best calligraphy. I see that the book cost a massive 8/6 – a lot for a schoolboy, so maybe she gave it to me. I don’t know which I did first – see the film or read the book. I’m sure I missed a lot of Henry Fielding’s jokes but I do remember the excitement of seeing as an A Level English student what a skilled writer could do with irony and description and character. And why not go on for 800 pages? Why stick at the 180 or 200 my usual reading matter then had?
My third Finney/literature moment was seeing him on stage at the National Theatre as Tamburlaine in 1976. I’d read Tamburlaine and had wondered how this prolonged bombast-fest could possibly be staged (and what constitution the actor in the lead role must have!). Well, Albert Finney was magnificent. He made it work. Christopher Marlowe would, I’m sure, have been delighted to see this massive anti-hero brought so compellingly to life.
Rather a different writer was Rosamunde Pilcher, who has also left us this week. She sold 60 million books! 60 million. Think of the sheer quantity of the pleasure she brought to her readers. And that pleasure spread far and wide: a happy part of my Czech mother-in-law’s week would be watching Rosamunde Pilcher’s stories made by a German film company, in the most glorious Cornish settings, with Czech subtitles. I don’t remember seeing those programmes in England but they have gone down well in Central Europe. Lots of red phone boxes and letter-boxes to remind the viewers where they are.
Must read The Shell Seekers one day.
So thanks, Albert Finney, and thanks, Rosamunde Pilcher.