Book Review: The Austen Girls: The Story of Jane & Cassandra Austen, the Closest of Sisters, by Helen Amy

Available from Amazon UK and Amazon US

Jane and Cassandra Austen were the closest of sisters from early childhood. Cassandra was the most important person in Jane’s life; Jane looked up to and adored her older sister, who was devoted to her in return. As well as sharing the same education, interests, friends and Christian faith, the inseparable sisters supported each other through various emotional crises and family troubles. Most importantly, Cassandra, who was privy to Jane’s imaginary world, supported and encouraged her in her writing.

If you thought you knew all there is to know about Jane and Cassandra Austen, Helen Amy’s new book, The Austen Girls, is guaranteed to have a few surprises.

 
This is a story of a lifelong bond, exploring the intimate connection between the sisters. Cassandra is not a supporting character in Jane’s life, but her confidante, her critic, her keeper of secrets, and often her emotional compass.

 
Helen Amy challenges readers to reconsider the “great author alone at her desk” myth, replacing it with a more granular and human portrait of two sisters navigating family obligations, financial insecurity, and the societal constraints of Regency England.

It is easy to forget girls of their time would usually have had the most basic education, with academic learning thought ‘unwomanly’, and only the most affluent being sent to boarding schools.
Jane and Cassandra were an exception in being ‘allowed’ to join their brother’s sessions with tutors. They also attended their father’s lessons and encouraged to read literature and history books, as well as learning basic French.

I particularly liked the many excerpts of Jane’s letters, which offer a real sense of her voice and personality. We only have Cassandra’s portrait of Jane and a ‘silhouette’ of `Cassandra, which makes the descriptions of them in the book quite intriguing. For example, Jane is said to be, “tall and slight, well balanced, as proved by her quick, firm step.”

For readers familiar with Jane Austen’s novels, The Austen Girls offers fresh perspective—not by reinterpreting her works, but by enriching our understanding of their emotional world. The Austen Girls is a tribute not just to Jane Austen’s genius, but to the sustaining power of family and the invisible threads that nourish great art.

Tony Riches

I would like to thank the publishers, Amberley, for providing a review copy.

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About the Author

After leaving university with a BA in English Literature and history Helen worked for a number of years in the Court Service before becoming a full time mother of three. Her interest in the life and works of Jane Austen developed from the research she did for her MA dissertation which was about the lives of women in late Georgian England. You can find Helen on Facebook

Revisiting Dylan Thomas' Boathouse and Writing Hut in Laugharne

I've spent today retyrning to the boat house and writing hut of poet, writer and broadcaster Dylan Thomas (1914-1953), who lived at the boathouse overlooking the estuary in Laugharne in West Wales for the last four years of his life - and it's where he wrote his last work, the famous 'Under Milk Wood.' 

The boathouse now contains a museum with many original furnishings and memorabilia,  including Dylan's father's desk.  Here is an original letter from Dylan Thomas to Augustus John, asking for financial support:

This is the view of the Taff estuary from the boathouse at low tide:

The Writing Shed

Above the boathouse is the little 'writing shed' (which was originally the garage for the boathouse), where he wrote,  which has been preserved and is visited by people from all over the world (and serves as the banner for my blog!)

Writing routine

Dylan Thomas settled into a routine of reading and writing letters in the mornings, doing the crossword and drinking (heavily) in the nearby pub at lunchtime.  He would then work in his shed from two in the afternoon until seven in the evening.  It's said  he would read his work aloud, over and over, perfecting the alliteration and hearing the rhymes.

The hut had a simple stove for heating in the winter and Dylan covered the walls with photographs and magazine cuttings of his favourite poets, Byron, Whitman, Auden and William Blake.

Guest Post: Writing a Novel, by Kate Ferguson ~ Part Two: Getting an agent

When I wrote the final words of my novel last September, I published a post reflecting on what I had learned in the five long years it took to complete my manuscript. Nine months on, having just signed with an agent, I’m ready to share the next part of my journey.

After taking a little time off, I began the process of redrafting. Some of this was fun, but most of it was tedious. Re-reading your own work can feel a bit like biting into a rotting apple. You do it because you cannot afford to let good food go to waste. But the lack of freshness makes it almost unpalatable. Also, the risk of encountering an existential crisis in the form of an enormous worm looms large.

Some wonderful friends, acquaintances and family members offered to read the manuscript. I collected their feedback greedily, compiling their comments in a Microsoft Word document. I was fascinated by the diversity of approach. While some honed in on small logistical details or individual moments, others took a far more sweeping perspective. How you read is how you see the world.

I also shared it with my writing group. The three of us have been meeting virtually throughout the pandemic and are already well-versed in each other’s works. We know about the joy and torment of writing a novel and they know my strengths and weaknesses better than anyone else.

Finally, I sought professional guidance in the form of a manuscript assessment. I was lucky enough to know someone who offers this service. The person in question is a novelist herself and has previously offered me invaluable advice on structure and character development. If you can afford this, it is worth the investment. Just make sure that you check the individual or company out first. They’re not all worth the money.

Her comments left me nodding in recognition. It is wonderful to agree on what’s wrong with your work because it means you are looking at it through the same prism. She had wonderfully encouraging things to say, too. She believed it would be published but the crux of her advice was: don’t send it off just yet.

I took her advice and made a plan. I knew I couldn’t solve every problem, but I picked out the main areas of weakness and approached them systematically. This was not particularly enjoyable but it was necessary. With the support of my writing group, I looked afresh at my subplot and at one particular character whose interior I had not sufficiently inhabited. I worked and I improved, but it still wasn’t perfect. It was, I decided, 80 percent there.

It was an annoying, arbitrary metric. So near and yet so very far. My enthusiasm began to wane and there came a point where I could no longer bare to open the document. I abandoned it for a while, and tried my hand at some short stories. It felt good to delve into other worlds for a bit.

But still, it niggled at me. I didn’t want to have spent five years laboring on something that wasn’t going to see the light of day. What plagued me most of all was my opening chapter. I had agonized over it, for years. One night, in a fit of literary mania, the product I expect of weeks of low-key restlessness, I scrapped it.

It was, probably, the best thing I could have done because the ruthlessness of my decision buoyed me forward: yes, this novel wasn’t perfect but what work ever was? It was time to send it out. Years could go by before it was at 90%. A lifetime would pass without it reaching perfection. I picked up the 2019 Writers’ and Artists’ Yearbook my sister had gifted me for Christmas two years ago and opened the agents listing section. I would work alphabetically.

The Internet is full of advice about how to find a literary agent and I devoured it all. I familiarized myself with people’s lists, took careful note of submission guidelines, and wrote a cracking synopsis. I wrote a personal but professional cover letter which I tailored to each individual agent.

I have been a while out of the dating scene, but for me, the process of finding an agent has been analogous. One of the most bemusing and prevailing features of a standard agency’s website is something along the lines of ‘Please don’t be disheartened if you don’t hear from us. We get thousands of submissions every week! Just because your work isn’t right for us, doesn’t mean someone else won’t love it.’ Then, a few lines down you get something like: ‘However, please let us know IMMMEDIATELY if you are offered representation elsewhere!’ The translation of this is: we’re probably not interested. Unless someone else is, in which case we’ll assume you’re the hottest thing since Sally Rooney.

In April, I sent about half a dozen submissions out. Most agencies tell you to assume it’s a no if you don’t get a reply within six to eight weeks. Having not yet heard anything, a month later, I sent out another bunch.

The next day, something extraordinary happened. An agent, wildly enthusiastic about the first three chapters, requested the full manuscript. Then, a few hours later, another I had written to the month before did the same.

The next two weeks were a whirlwind. The first agent who had replied offered me representation. Since I had researched agency etiquette, I knew that at this point, the polite thing to do was to write to all the other agencies to which I had submitted.

Almost overnight, I became a literary hotcake. A number of other agents requested the full manuscript. I gave them a week to get back to me. The audacity. Me – giving an agent a deadline! After five years of lonely labor, the whole thing was wonderfully preposterous. Some rejected it, but nicely. Others said they were interested. I talked to two other agents on the phone. In the end, in the most ridiculous turn of events imaginable, I had more than one offer to choose from.

I went for the first agent who had responded to me. Her enthusiasm was unbridled, so much so that at first I couldn’t quite believe it. But a literary marriage is nothing without passion. Two weeks on from signing, I am still in the best kind of writerly shock.

Right now, we are working together on a line edit – the first of many. Of course, there are no guarantees. Douglas Stuart’s Booker Prize-winning Shuggie Bain was rejected by 44 publishers. But for now, none of that matters because what a privilege, what a treat to have someone by my side as I once again, begin afresh.

Kate Ferguson

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About the Author

Kate Ferguson is an Irish writer and journalist living in Berlin. Her short fiction has appeared in The Wild Word and WWBL, a literary journal focused on women's writing. In 2019, her story "Emil Anonymous" was shortlisted for the New Irish Writing in Germany award. Kate blogs regularly about life in Berlin and her writing journey at www.katekatharina.com. Find her on Twitter @katekatharina

See also:  Part One: The Writing Process

Special Guest Interview with Mandy Eve-Barnett, Author of The Commodore's Gift

Available from Amazon UK and Amazon US

Under the Buldrick Empire’s rule, Owena finds herself fighting alongside a rebel force. Her aptitude for strategy and swordsmanship come to the fore. When she meets Galen, not only does she fall in love but becomes even more determined to join the fight to restore the rightful 

King to the throne.

I'm pleased to welcome multi-genre author Mandy Eve-Barnett to The Writing Desk: 

Tell us about your latest book 

My latest novel was launched 26th September 2020 at the virtual book fair and sale, Words in the Park. It is a steampunk adventure/romance with a strong female lead. The Commodore’s Gift began life as a prompt at a writing retreat, in 2018. I thought I could submit the resulting story (8K words) to an anthology and did find one. 

However, the project failed so then I put the story on the back burner. When NaNoWriMo loomed, I decided I would expand the story to a novella. Creating a beginning and ending to the central story. However, it became clear, pretty soon, after I began, that the characters had different ideas. The short story/novella grew to over 79K words and a novel. 

Bizarrely the main character in the original story became a secondary character, as a strong, determined female personality took over as the heroine.

Owena is not the typical Victorian lady, she wants adventure and freedom from the normal society expectations. With determination and expertise, she joins the rebel force to conquer the oppressive Buldrick Empire.

What is your preferred writing routine?

I tend to have writing days, when everything else is secondary. I become totally absorbed in my characters and ‘live’ with them. I can write at my desk, on the sofa or on road trips. I have been a free flow/panster writer up until very recently, when my idea for this year’s NaNoWriMo popped into my head. It is a book series and I realized I had to plan the plot arc for each book and the series. This is a new experience for me, and I am enjoying learning about this new skill.

What advice do you have for new writers?

All writing is good writing in the sense that it is practice, practice, practice. It also is a way for you to learn how you create. This will become your writing voice in time. Test new genres and styles until you find the one (or ones) that resonates with you. Join a local writing group, that encourages and supports you and your style. Practice writing to a time limit, use prompts and enjoy the process of writing.

What have you found to be the best way to raise awareness of your books?

Before COVID19, I attended many book events, which broadened my reach and gave me the opportunity to answer questions on my stories. I loved the interaction. Now, my main promotion avenue is social media (I am on a lot!) as well as my website. I also have great readers and followers, who also champion my books.

Tell us something unexpected you discovered during your research

Goodness, I have researched a lot of ‘strange’ things in my time. I think the weirdest one was when I was writing a suspense/thriller (The Giving Thief - unpublished at this time). I wanted to know under what conditions a body could desiccate/dry out.

What was the hardest scene you remember writing?

I think a rape scene in The Twesome Loop was the hardest, as I didn’t want it to be too descriptive but at the same time be true to the act.

What are you planning to write next?

I’ve mentioned earlier, that a new, unexpected idea came to me recently. It will be a detective three book series. Firstly, a new genre for me and secondly my first three book series. I did write a sequel to a novella several years ago due to reader demand (The Rython Kingdom and Rython Legacy). This was a thrill, as you can imagine but gave me anxiety as I had not planned a follow up for the initial novella.

Mandy Eve-Barnett

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About the Author

Mandy Eve-Barnett is a multi-genre author writing children’s, YA and adult books. Every story has a basis of love, nature, magic and mystery. Her passion for writing emerged later in life and she is making up for lost time. With nine books published since 2011 and another five awaiting the editing process, she indulges her Muse in creative as well as freelance writing. Mandy regularly blogs and encourages support and networking of all writers. She is also prolific on social media. As Secretary of her local writers’ group, the Writers Foundation of Strathcona County, she hosts the monthly meetings and creates weekly writing prompts for the website. She is also the past President of the Arts & Culture Council of Strathcona County Council. Mandy Eve-Barnett lives her creative life to the fullest. Find out more at http://www.mandyevebarnett.com and find Mandy on Facebook and Twitter @mandyevebarnett

Special Guest Post by Jane Isaac, Author of Hush Little Baby (DC Beth Chamberlain Book 3)

Available on Amazon UK and Amazon US

One sunny day in July, someone took three-month-old Alicia Owen from her pram outside a supermarket. Her mother, Marie, was inside. No one saw who took Alicia. And no one could find her. Fifteen years later, a teenager on a construction site sees a tiny hand in the ground. When the police investigate, they find a baby buried and preserved in concrete. Could it be Alicia?

A Research Experiment!

I love research. It underpins the stories we write. I’ll admit I probably do far too much of it. Sometimes it’s only for an odd sentence, sometimes it’s a thread that runs through the entire book. Research comes in all shapes and sizes, but after eight novels, there is nothing for me that matches the personal experiment I carried out for my latest book.

In Hush Little Baby, I have a victim buried in concrete. Concrete holds some preserving properties - a delicious fact if you’re a crime writer because it opens up many possibilities for the story. But it presents problems too. My body had been immersed in a concrete block for several years when the casing was disturbed on a building site, uncovering the person inside.

What would it look like after all this time? What DNA evidence would be available for identification purposes? These are areas I needed to answer so that readers could follow the story through the eyes of Beth, my investigating detective.

Researching these points proved quite tricky. I tried all my current forensic and pathology contacts and, needless to say, they could speculate on the DNA and forensic front but had never dealt with this particular situation and couldn’t be exactly sure what it would look like. 

I read books and researched online, but there hasn’t been a huge amount of research done on bodies buried in concrete and the science was quite complex; I needed a lay person’s explanation. I was struggling and beginning to wonder if I should drop the idea. Then I decided to do my own experiment.

One Sunday afternoon, I eyed up the pig’s shoulder my daughter got out of the fridge, ready to roast for dinner. And it gave me an idea. Research has taught me that pig is similar to human skin. Depending on conditions, most bodies breakdown during the first six months after death. Why don’t I bury the pig’s shoulder in a bucket of concrete and leave it in my garden for a while?

So, much to the delight of my neighbours (and the disgust of my daughter – I won’t tell you what we ate for dinner that Sunday!), hubby and I took a little trip to the local DIY store, bought some concrete mix and did just that. The bucket sat in my garden for many months with a pot plant sitting on top. I knew it was completely sealed because the flies stayed away and my dogs showed no interest.

Fast forward to last May. Remember that beautiful hot bank holiday weekend? We were having quiet family time, catching up with jobs around the house while neighbours BBQ’d with friends and families in the surrounding gardens. I remember finishing my chores, sitting in the garden and eyeing up the bucket. The meat had been encased for almost a year; it was time to find out what it looked like inside.

The pot plant was moved. My hubby got his sledge hammer out of the shed and whacked the plastic bucket hard. The concrete smashed open. And for the first few seconds it was an extraordinary sight – the pig’s shoulder was exactly the same as when it was buried – the meat was pink and raw; even the skin hadn’t discoloured. 

What we didn’t realise was that as soon as it hit the air, it would go into rapid deterioration. By rapid, I mean super quick - the smell was putrid! And our neighbours were having these lovely BBQs with their loved ones only metres away...

Cue panic. Hubby broke up the concrete, burnt off the remnants of meat still attached to the stone, wrapped it in bags and disposed of it in the bin. I thought hard. What could I do with the joint to stop it smelling? I couldn’t put it in the wheelie bin like that. So, thinking on my toes, I wrapped it in a bag and put it in our freezer. Frozen meat doesn’t smell, right? 

I planned to put it out on refuse collection day. When we’d finally finished clearing up, hubby and I came inside. But no matter how much we cleaned and showered and changed, the fetid odour still hung in the air. We thought it was in our noses, sprayed air freshener, lit candles. Eventually the smell faded and we went to bed.

The following morning, I came downstairs and could immediately smell rotting meat. We had friends coming for brunch, I needed to start cooking. But something wasn’t right. I opened the freezer and the stench slapped me in the face.

Brunch turned out to be takeaway of sorts eaten in the garden that day. Ten minutes before our guests were due to arrive my hubby was driving out of our village - the pig’s shoulder in a carrier bag hanging out of the driver window because he wouldn’t have it in the car – off to bury the rotting meat at the edge of a disused airfield nearby. And I was emptying my freezer in case the smell had infiltrated the other food in there!

I’ve since found a wonderful scientist and former crime scene manager who specialises in bodies buried in concrete and she has been wonderfully helpful with my research. But I’ll never forget that weekend we broke into our concrete. Needless to say, my expert was incredibly interested in our experiment! 

Jane Isaac

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About the Author

Jane Isaac lives with her detective husband and daughter in rural Northamptonshire, UK where she can often be found trudging over the fields with her Labrador, Bollo. Her debut, An Unfamiliar Murder, was nominated as best mystery in the 'eFestival of Words Best of the Independent eBook awards 2013'. The follow up, The Truth Will Out, was selected as ‘Thriller of the Month – April 2014’ by E-Thriller.com.

Jane is author of nine novels. Her latest series is based in Northamptonshire and features Family Liaison Officer, DC Beth Chamberlain. Find out moire at Jane's website www.janeisaac.co.uk and follow her on Facebook and Twitter  @JaneIsaacAuthor

Story: Substance, Structure, Style and the Principles of Screenwriting, by Robert McKee #AuthorToolboxBlogHop

Available on Amazon UK and Amazon US

Story is for any writer who ever wanted to understand and develop their craft.  Robert McKee's book is one of those wonderful discoveries that you can open randomly at any page and learn something about writing. McKee's main point is that all notions of paradigms and 'foolproof' story models for commercial success are meaningless.  Instead of looking for shortcuts we need to be faithful to our principles.

I have no aspiration to become a screenplay writer but, like many of us, I once had a go at writing a play for radio. I am glad I did, as it helped me appreciate how much easier the whole experience could have been if I'd followed the principles set out in Story.

I was particularly intrigued by the explanation of the genre and subgenre system used by commercially successful screenwriters.  McKee points out that genres don't inhibit creativity – they inspire it and anyone who ever tells a story is really doing so within the principles, structure and style of a genre - even those who rebel against genres!

His chapter on characterization and character development is also very thought provoking for any story writer. Characterization is described as the sum of all the observable qualities that make the character unique – but true 'character' is what waits behind this mask to surprise us.

McKee argues that true character is revealed through the choices made under pressure – and the greater the pressure, the deeper the revelation. The memorable characters of film and literature are all of course rooted in this simple but easily overlooked principle.  I like the idea that, having analysed the clear and obvious choice for a character, we then ask what would be the opposite to that and why they would act in that way?

Story has hundreds of examples from movies of every genre (the list at the back takes 33 pages).  I've never really thought about it before but he points out that how odd it is to sit in a darkened room full of strangers and give our undivided attention to a story for two hours without a break.  I wonder if I will ever watch any of them again without thinking about the screenwriting.

I also found myself wondering how many of these movies have influenced the way I think about story writing – and I definitely have renewed respect for screenplay writers.  Next time you go to see a movie, make a point of knowing who actually wrote the story.  You will find someone who was prepared to write every day, line by line, page by page –with the courage to risk rejection and failure in the quest for stories told with real meaning.

Tony Riches

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About the Author

Robert McKee developed his ideas on creative writing when he was a professor at the University of Southern California. His seminars have contributed to the work of 36 Academy Award winners, 164 Emmy Award winners, 19 Writers Guild of America Award winners and 16 Directors Guild of America Award winners. Find out more at www.storylogue.com and follow Robert on Twitter at @McKeeStory

Do you have recommendations on books for writers you would like to share? Please feel free to comment below

The #AuthorToolboxBlogHop is a monthly event on the topic of resources and learning for authors. Feel free to hop around to the various blogs and see what you learn! The rules and sign-up form are below the list of hop participants. All authors at all stages of their careers are welcome to join in. 

Guest Post by Dave Chesson ~ A writer’s education is never finished

Like any creative discipline, writing requires the ongoing accumulation of skill and technique coupled with an exposure to inspiring events and people.

Ever since writing became a skill accessible to non-elites, the handing down of writing knowledge and practice has been held in high regard by society.

The history of education in the United Kingdom shows that writing knowledge was a scarce commodity, taught to the lucky few through the tiny number of early universities and later by the grammar schools introduced by Edward VI.

Nowadays, writing education is abundant. The range of options when it comes to learning about writing is truly astonishing. In today’s article, I will share with you three of my favorite ways to learn about writing along with some thoughts on each.

Writing Classes

The range of writing classes on offer in the modern era is truly astonishing. No matter your level of ability as a writer, your previous experience, or the area of writing you wish to focus on, there is almost certainly a class suited to your needs.

Some of the types of classes you may wish to consider include -

●      Evening classes taught in person, such as those held at universities or adult colleges

●      Intensive classes, sometimes residential, held for a focused period of time

●      One on one tuition with a writing tutor

●      Online classes, either taught in the form of live sessions or pre-recorded courses

●      One off workshops or taster sessions

●      Formal qualifications, such as diplomas or degrees resulting in a recognized qualification

The benefits of a writing class as a source of ongoing education are many. Sometimes, if left to our own devices, we find excuses and reasons not to write. By committing to a class, and often paying money to do so, it becomes a lot easier to justify spending time working on and improving our writing.

Writing classes also offer a social dimension which isn’t always present in other forms of writing education. For some people, the enjoyment of learning and practicing alongside a group of likeminded souls is far more enjoyable than a solitary writing practice.

If you’re the kind of writer who enjoys a structured approach to learning, and the company of others, a writing class might be the perfect solution to your ongoing educational needs.

Podcasts For Writers

While many people never consider making podcasts one of their primary forms of ongoing education, those who do often become devotees to the format.

There are many advantages to using podcasts as a way of increasing your writing knowledge. Podcasts allow you to -

●    Learn about writing no matter where you are. A mundane commute becomes an educational masterclass with the right podcast.

●    Hear directly from writers you admire and wish to emulate. Having a writer share their ideas and experiences directly in your ear is often the next best thing to listening to them in person.

●    Be entertained as well as educated. The best podcasts not only offer information but do so in a way which is enjoyable, just like the best teachers.

A good reason to use podcasts as a way of learning about writing is that, unlike many other forms of education, podcasts are ongoing and regularly updated. Whereas you might read a book about writing once or twice, podcasts allow you to refresh your writing education each and every week.

Many people find the small, focused lessons learned from podcasts over a long period of time to be a better way to learn than more comprehensive and in-depth blocks of information absorbed over a shorter period.

The best writing podcast you can choose is one which focuses on information directly relevant to your own writing that you also enjoy listening to. If you find your writing education to be both useful and enjoyable you are more likely to stick with it, thus reaping rewards in the long run.

Books About Writing

For some people, there is nothing better than a book as a way to learn. Books offer a number of advantages over both podcasts and writing classes.

●      Books are almost always cheaper than writing classes

●      Books often contain an incredible depth of information

●      A book can be pursued at the learner’s own pace, unlike a writing class

●      Books require no commitment or travel and are therefore great options for busy writers with hectic calendars

There are a number of books which are considered all time classic resources for writers and those interested in the craft of writing. In no particular order, three books I feel to be particularly valuable are -

1)  Eats, Shoots & Leaves by Lynne Truss.  This is probably the most technical book of the three but also one of the most enjoyable. Widely regarded as one of the best books about punctuation on the market, Eats, Shoots & Leaves teaches an essential but mundane aspect of the English language in an engaging and enjoyable way. Eats, Shoots & Leaves is a prime example of education being more effective when it is also entertaining.

2)   On Writing by Stephen King. Stephen King is widely regarded as one of the best popular storytellers of the modern era. On Writing explores King’s own journey as a writer, which is inspiring in and of itself, as well as the process by which he writes and edits his work.

3)   The War of Art by Stephen Pressfield. In The War of Art, Pressfield delves deep into the creative process and the frustrations and struggles we all face as writers. Focusing not on the technical craft of writing, but instead on the inner drive needed to create, this book covers a valuable but often overlooked part of the writing process.

When you find the right book to assist you on your journey as a writer, it becomes almost like an old friend that you can turn to for advice and reassurance when you need it most.

Ongoing Education For Writers Recap

Long gone are the days where education was a scarce resource available to the privileged few. Nowadays, we are spoiled for choice when it comes to the variety of ways to gain a deeper understanding of the writing craft.

Be sure to enjoy your ongoing education as a writer, and please feel free to share any other sources of writing education you’ve found personally helpful in the comments.

Dave Chesson

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About the Author

Dave Chesson is a master Jedi at book marketing and the author of Kindlepreneur.  To succeed in today’s competitive kindle business, you need to be part  writer and part marketer.  His website on self-publishing is devoted to  helping you with the latter. Find out more at Kindlepreneur.com and find Dave on Facebook and Twitter @DaveChesson.

Writing: A pleasurable way to pass the time ~ or a compulsive disorder? Special guest post by Anne O'Brien

In a new series of special guest posts, I have invited some of my favourite authors to let us have a look 'behind the scenes', at how and where they like to write. The first is by Anne O'Brien, who inspired my fascination with the fifteenth Century: 

For me writing has become a necessity.  A compulsion.  If I take a break from writing for even a few days (when real life kicks in) I suffer withdrawal symptoms, and worry about what my characters might be doing without me.  Are they surviving if I let them off the leash?  Have they changed tack without my being aware?  Even if I take a deliberate break, my mind is evaluating new characters, new possibilities, and re-evaluating old ones.  Considering new relationships.  Would he really say that to her, when treason is sitting heavily on their shoulders?.  What a splendid source of people and events and situations medieval history has become for me.

Writing for me is also a solitary thing, something done behind a closed door and not shared with anyone until the completed script is dispatched to my editor.  I make my own decisions about characters and scenes, those included and those omitted to make the most impact on the reader.  I never talk over my plans.  I worry over the various strands on my own, until I am satisfied with the outcome.   I prefer it that way.  When my editor reads it, then we talk and negotiate and work out a happy compromise to achieve the best end result for her, for me, and of course for the women of history about whom I write.

I have an office where I work, a small room with a desk and a PC because for me that is the most comfortable way to work.  I have a laptop but tend to use that only when travelling.  In my office I can be surrounded by reference books and all the paraphernalia I find essential to put together a good story.   I have two window with glorious views of oak trees on one side and a cider apple orchard on the other, with frequent buzzards circling overhead.  I have to exert great self control not to lose myself in the scenery too often.  The Welsh Marches are quite beautiful.

(The pics are of my office - but after a thorough spring-clean between books.  I rarely see it so tidy.  It is not so at the moment.  I don't think I dare take a pic as it is now.  If I tidy up when I am writing, I lose my references.)

I am definitely a morning writer, starting early - by 8.30 am - after I've cleared any urgent admin.  Then I write through until lunch.  I don't count words because first draft writing covers more ground than when I start editing and refining; here I work much more slowly.  So I simply write for the time I have set myself.  But even when my day's writing is over, the characters tend to live with me and keep me entertained - or anxious.  I often find a need to make notes of what they might be saying, or directions of plot I had not previously thought of.

So how do I write?  Over the years I have changed my approach to writing but the beginning is always the same because it is historical fiction. 

1. An historical timeline is essential: to plot the known facts, dates and the general order of events.  This is where the the main body of research takes place, so I can know exactly who is doing what and when.  This has to be the bedrock of historical fiction, otherwise it becomes merely fiction.

2. Next comes some characterisation, or as much as I can discover from the sources, both primary and secondary.  Some characters are well documented.  Some barely at all.  But I need some idea of how my characters will react and inter-react in any given situation.  My characters must be true to the traits they exhibited in real life.

3. Then there is the true start to the writing of the novel - for me it is the highlighting of the scenes that are absolutely crucial to the telling of the story.  I often write them first, even if it's only a rough draft and completely out of context.  Just so that I have them in place and I can see the drama unfolding.

4.  I might write the end of the novel at this stage - although this can change as I write second and third drafts.

5. By this time my characters are very familiar to me, and their motivations fairly clear.  This is the point at which I start at the beginning and write a full draft through to the end, linking all the mains scenes.  By the time this is complete, I have something that feels like a complete novel, even if no one else would think so.

6.  Then - the most enjoyable part of all - I begin to add layers, polishing and refining the plot, adding connecting links, thinking what it is that I need my characters to say through mood and action.  This is where the historical detail begins to influence the scenes - the costume, music, details on where and how they are living.  Characters in novels do not sit still and talk.  This is where the book begins to come to life.

7.  Altogether I write four drafts followed by a quick read through to test for pace and relevance.  Where the pace drops, or the interest, that is where there is a need for some cruel editing out of what I have written, even if it is one of my favourite scenes.  Sometimes the characters do not really shine through until the fourth draft.  I need to be patient and believe that it will happen.

The whole process takes me about a year. The most exciting part, for me, of writing historical fiction? When I discover a crucial piece of evidence that directs the actions of my main protagonists. When I finally realise what it is that makes him or her tick, even if they lived six hundred years ago.  Suddenly everything fits together and it is immensely satisfying. And the end result, released in November, 2014

'The King's Sister', a story of love and treachery and betrayal at the Courts of Richard II and Henry IV.

Anne O'Brien

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About the Author

Anne O'Brien was born in the West Riding of Yorkshire. After gaining a B.A. Honours degree in History at Manchester University and a Masters degree in education at Hull, she lived in the East Riding as a teacher of history. Always a prolific reader, she enjoyed historical fiction and was encouraged to try her hand at writing. Success in short story competitions spurred her on. Leaving teaching, she wrote her first historical romance, a Regency, which was published in 2005. To date nine historical romances and a novella, ranging from medieval, through the Civil War and Restoration and back to Regency, have been published internationally. Anne now lives with her husband in an eighteenth century timber-framed cottage in the depths of the Welsh Marches in Herefordshire, on the borders between England and Wales. Since living there she has become hooked on medieval history. Virgin Widow, published in 2010 was Anne's first novel based on the life of an historical character, Anne Neville, wife of Richard Duke of Gloucester. Her second novel tracks the early life of Eleanor of Aquitaine, through marriage, crusades and divorce, not to mention scandal, as Devil's Consort (In the USA published as Queen Defiant.)  Other novels depict the scandalous life of Alice Perrers, mistress of King Edward III, who broke all the rules as The King's Concubine, followed by Katherine de Valois as The Forbidden Queen.  Find out more at Anne's website www.anneobrienbooks.com and find her on Facebook and Twitter @anne_obrien.

Guest Post by Carrie Aulenbacher, author of The Early Bird Café

For years, Jim and Eve have shared breakfast every morning at the Early Bird Café. Their constant friendship, however, is thrown into chaos when Jim begins writing his second novel.

Available on Amazon US and Amazon UK

As I walk around in this old café, it is not only the setting of my book, The Early Bird Café, but it is a haunt for me.  The worn linoleum floor squeaks familiarly under my feet, the mismatched salt and pepper sets among the tables fit just right in my hand.  Even the dated cash register makes me want to keep coming back here when I need some relief from the daily grind.  Such is the inner world that I visit as the setting of my debut novel.

People ask me how I wrote such a story.  They say they never knew I had all of this inside of me.  To me, it is not something that I created, but something that I’ve discovered inside of me over the years.  I feel more like an explorer at times when I write.  I am not bringing anything new to life, in my mind; I’m simply uncovering an inner world and reporting back to my readers with my findings.  I’ve trod these streets on snowy, dreary days, my hands thrust deep in my pockets to thwart the cold.  I’ve donned sunglasses to sneak a peek on hot afternoons, watching around the corners as my characters have gone on living out their lives.  I’ve listened to a hundred conversations between Jim and Eve while sitting in the very next booth, never writing anything down; just listening.

I find that, the more I immerse myself in their world and get to know them, the better I am able to document what they’re doing, what they’re saying and what they’re not saying.  So, I hate to disappoint those who insist that storyboards and outlines are the best way to go.  I’ve never used any.  There is no storyboard to map out one’s own life, and I find that such an approach doesn’t work for my characters in their own lives either.  I just let the chips fall where they may and I see how things unfold for them.

That’s why I feel that Jim’s journal entries are such a good fit for the format of my novel.  His entry at the end of every chapter is a sneak peek inside his mind much like my trips to the café are my sneak peek inside their world.  To get inside his head is just as important for the reader as those times I would watch him prowl these streets clad in his leather jacket like a sexy yet forlorn rock star.  As intimate as The Early Bird Café is, it is Jim’s journal that shows us just how much he hides from his best friend, Eve.

These hints at further mystery make me keep coming back here.  As we discover just how private Jim keeps his innermost thoughts from his very best friend, how much could he be hiding from me, his author?  I ponder this as I occupy the corner table and watch him cross the floor before me.  Easing into the booth, he opens that journal laconically while Cassie pours him a perfect cup of coffee.  He shirks the leather jacket from his broad shoulders, revealing a tight shirt that leaves nothing to the imagination.  This author can see his mind working out something.  Running his hand over an unshaved jaw, the pen begins a sentence in the journal in front of him but hesitates, then stops. 

I watch his eyes glaze over as he stares out the window.  He chews his lip absentmindedly.  Dropping the pen for his cup of coffee, he runs a hand through his luscious brown curls, oblivious to me.  This is why I became a writer.  Because there are characters like this living in the inner world in my head that I don’t fully know - yet I just can’t resist.  I have to know.  What makes a guy like Jim tick?  Why is he the man that he is?  And who can save him?

Eve comes in the door, and one can almost sense his aura change.  It is clear there is something mysterious about her that he is trying to unlock with his own writing.  She’s got something that makes his eyes dance and his smile broaden.  I feel a smug satisfaction at realizing that, for all the secrets he still hides, there is yet another who holds an ultimate secret from him.

As the author of this unique love story, I can’t wait to come back and watch it all unfold.

Carrie Aulenbacher

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About the Author 

Carrie Aulenbacher was born and raised in Erie, PA, and currently works at one of the largest locally owned logistics companies in the tri-state area where she has enjoyed varied roles duties as an Administrative Assistant / Tax Clerk / Social Media Coordinator for the past 15 years. Although The Early Bird Cafe is her first publication, Carrie has had a lifelong love of writing.  On her website www.carrieaulenbacher.com you’ll find some freebies of short stories and poems she has written over the years.  In her spare time, Carrie is a full-time mommy who loves collecting old books, exploring her nearby woods, growing tons in her flower gardens and treasure hunting in the local antique shops. You can find Carrie on Facebook and follow her on Twitter @Aully1