Writing Competitions Are Wonderful

Hooray for my writing buddy Avril ! She has just been shortlisted in the imaginative  Doire writing competition. An Irish competition, it has an international entry, so this is a satisfying achievement even so far. As I say to Avril, the Irish certainly know what they’re doing where the English language is concerned,! Their judgement will be true. I just want her to win it now! Cross your fingers.

Writing competitions, whether you win them or not, are a very good discipline for a writer. They give you a deadline, a clear brief, a growing sense of audience that some stranger – not your sister, your brother, your best friend - out there really rates your words on the page. Whether you win it or not when you write for a competition you are practicing for  strangers.  This forces you to write at the top of the game: you can’t expect strangers to read your mind and know what you intended to mean, how you intended to say it.

Having judged many national writing competitions I will tell you that the cream tends to come to the top. If you keep trying and improving you will get there.  Being placed in competitions should boost your self esteem, increase your self confidence as a writer and make you write more and better. And I will also tell you -  the more you write the better you will get! (Seems like common sense, doesn't it?)

It is –as Avril and I have proved  – delicious to talk writing over a glass of wine, or brainstorm in your writing group. But if you want to grow as a writer there is no substitute for writing on and on,  for writing with creative discipline. Writing competitions are one  good way to sustain that growth.

If you want to sample Avril’s winning  style (almost wrote smile…) download her book

Susie Drew and other Stories.

Avril says:  Susie Drew and Other Stories is the second in the series Beyond The Mask - stories of prison life. Susie Drew Susie Drew has the habits of a jackdaw, stealing bright objects, little bits of nothing that shine. She steals food too, coffee from the Nescafe jar in the staffroom. She’s your cleaner, the best cleaner you’ve ever had. Puts the coffee in screws of paper, buries it under the mattress in her prison cell…
Heroin Trees – Roxanne and Me Roxanne is a working girl. Nita is her friend…I wasn’t long out of prison after the first time and things weren’t going well. Despite all my promises I was back with Sonny and using again, our money heated up in spoons: liquid money shot into our veins and laid out nodding on the couch. We managed alright for a while because he was dealing, but when Sonny got sick and I started wondering what the hell we were going to do for money that was when Roxy rang…
Pink Passion Marie is looking for love - I met him at the Pineapple, one Thursday night. I used to go there most weeks looking for something. I suppose then I might have called it love, although I barely knew it. You can’t know what you’ve never had. Can you? And I never had much of it when I was growing up…

Writing Competitions and How Not To Shoot Yourself in the Foot

The short story can be as diamond bright as a poem – although it’s often more accessible; it can be as epic as a novel, although it’s a much shorter read. My own first publication was a short story and I have published various short stories among the novels ever since. Last year Iron Press published a collection and this winter - at rest between two novels - I have been gathering another dozen in the hope of another collection.

In addition to this,  for the last fifteen years or so I’ve been involved in sifting, evaluating, adjudicating and  judging short stories entered into competitions by writers hoping to launch their own writing careers. Some writers who have drifted to the top of my various story piles  have gone on to have writing careers; to publish novels; one winning story went on to be a film.

One consistent experience,  as an evaluator faced with a pile of hundreds of scripts, is the reassuring certainty that the cream of the writing does generally rise to the stop. The  eye and the mind are  arrested by crisp  imaginative writing,by  innovative notions and by glorious language. They are heartened by powerful renderings of authentic emotion - from pathos to panic, from passion to murderous hatred, from despair to delight – all  in fresh modern prose. Great writing has such qualities stamped through it like Blackpool through rock.

Although the ‘fresh modern prose’ must be a constant, one has to admit that it is rare indeed to find all of the above named qualities in a single text.  But any story that rises to the top of the judging pile will demonstrate at least two or three of these qualities.  And every top class story showcases a unique voice, that story-print that defines any successful writer.

On the other hand, through the years I have been increasingly haunted by potentially talented writers who could end up nearer the top of the pile, but instead they shoot themselves in the foot by submitting their precious stories  in a form and style that stops a judge seeing through the jungle of infelicities to the good story at the core.  There should be no barrier between the  reader and the meaning. A judge ,who should not even have to think about the presentation, has to deal with creased, over-used paper; indistinct, ill photocopied text;  and single-spaced text instead of easy-to-read double spaced text.

In terms of style I’ve been amazed to encounter some highly inspirational writers who don’t have a handle on syntax. Sometimes paragraphs are used as spacers rather than a framework for meaning. I’ve met one or two cases where the writers  just abandoned the problem of paragraphs and presented  their story in Soviet blocks of print.

And I am sympathetic with - but disappointed in  - writers who avoid the vivid and life-giving energy of dialogue and retreat into telling and exposition – to the detriment of both style and story.  The fact is,  dialogue dresses the page with white space and allows the reader to breathe her or his imagination into your story. It makes them listen as well as read…

I know from my workshops that some new writers struggle with dialogue. However, to  make a story live it is seriously worth studying good modern writers. How do they achieve good dialogue without exposition? How do they breathe sound and life into these speakers.?

Finally a word about themes.  Many – even most - writers dig into their own lives to excavate themes and incidents for their stories. Death, birth, lives in retrospect, love, betrayal in the family- all these themes come up again and again on these piles. Where this works it can be brilliant. However, much that one encounters is very thinly disguised autobiography - as appetising as thin soup.  It’s more akin to therapy than literature. One’s own experience needs to be re-imagined, re-located, objectified and universalised in a  powerful fashion to make it work afresh for others. (This is why some stories based on ‘the child’s eye view’ can  work well – here time, transformation and distance come to the writer’s aid in re-imagining experience).

I think that if some of the good, competent writers who end up in the middle if the pile would take notice of any or all of these points then the possibility that their work might rise to the top in their next competition would be very much enhanced.

Happy writing

wx

PS  Don’t forget to look out for The Woman Who Drew Buildings  – Just out in paperback.