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Largest multi-fandom event for LGBTQ women and allies, ClexaCon brings together thousands of diverse LGBTQ fans and content creators from around the world to celebrate positive representation for LGBTQ women in the media.
Make sure to visit the Bold Strokes Books stalls/panels/readings.
Join Bold Strokes Books authors for an amazing weekend of literature and laughs. Ask questions, hear us read from our latest work, buy exciting new LGBTQ fiction, and mingle with the authors in a friendly and relaxed atmosphere.
The GCLS’s annual conference is the premier lesbian literary event for both authors and readers. The event brings together readers, fans, writers, editors and publishers to celebrate lesbian-themed literature.
The theme for this year’s BSB book festival blog tour is ‘fun’, and what the word means to us. Well, to be frank, I always approach the word ‘fun’ with the appropriate amount of cynicism and measured caution that the word deserves. This is because how I interpret the word ‘fun’ entirely depends on the […]
Why love stories as opposed to any other kind of story?
I write love stories because it’s simply in my heart to write stories about a woman falling in love with another woman.
I can still remember feeling very lonely and isolated by my sexuality, not seeing myself portrayed positively in literature, art or the media – so to now write stories about women falling in love means the world to me.
Also love is such a rich subject matter to write about. How a person reacts to love tells us so much about them. It draws out a person’s values, bringing out the best and the worst in all of us.
Why do you think romances get such flack from the other genre writers? Are they just jealous?
Some people argue that if a writer chooses to write lesbian romance, accepting that they are working within its formula, that their ambition as a writer is limited in both depth and scope by such a focus, and that the subject of romance is superficial.
I wholeheartedly disagree with this. There’s nothing superficial about attempting to capture the romantic essence of love. It is incredibly hard and takes tremendous skill.
A well-written lesbian romance which brings joy and consolation is a success and surely a book should be judged by the impact it has on its readers.
Like every other story romances can be boiled down to finding reasons why two attractive people cannot immediately have sex and ride off into the sunset together. What do you layer your stories with to make them unique while still hitting the must-have romance tropes?
I’ve been privileged to be part of a local Heritage Lottery funded project called ‘Untold Stories’ recording the oral histories of older LGBT people in the Leicestershire area. What I learnt from this experience is that our sexuality is so personal, our experiences are so varied, however there are certain common themes.
Lesbians throughout history and today have struggled with self-acceptance, family acceptance and society’s acceptance.
And I want to capture this on the page in an engaging and entertaining way.
So in Highland Fling I write an authentic representation for those lesbians who discovered their sexuality at a time when there was no such thing as ‘glad to be gay’ and how this defining experience colours their choices. But as with all hard subject matters there is great poignancy in the humour that can be found.
For my current work in progress Love’s Portrait, I write a contemporary love story highlighting the need for visibility of our LGBT history. This is set in the context of a museum when often the sexuality of the subject matter is omitted. I know we are not just our sexuality but it is a big part of how we experience life and it shouldn’t be airbrushed out or overlooked.
Have you ever tried to write a couple who just didn’t work? What did you end up doing with this story if so? If not, what is it that makes your couples always work in the end?
The main characters in Highland Fling, Moira and Eve, on paper shouldn’t work. They are very different women – different ages, different geographical background, different lifestyle, and have made different life choices. Highland Fling hinges on this very tension.
But when you find ‘the one’ you fight for love, you compromise, you see the other person’s perspective, and you want to make things better.
So how I make them work is that Eve simply gets Moira, she fundamentally understands her. Eve is wise beyond her years and has a way of simplifying and unpicking the complex.
“All we have is right now, and I want to spend all of my right nows with you.”
It is Eve’s compassion that builds the bridge between them and it’s her dogged determination to fight for their love that wins the day.
If you have multiple sex scenes in your works, how do you keep them from being monotonous? If you have any couples who have been together for a long time, how do you keep their relationship fresh and exciting?
Each sex scene is fused into the emotional journey of the characters. When they give in to their innermost needs these scenes are the critical turning points in the story.
Sex is not just sex it is the story itself.
Have you ever written a couple who got along so beautifully, you were a little jealous? Has another writer’s work every made you feel this way?
In my current work in progress Love’s Portrait museum curator Molly Goode and benefactor Georgina Wright are really lovely together.
Molly’s passion and determination to uncover hidden histories and champion diversity within the museum sector wins the respect of her bosses and the heart of the woman she loves.
Yes, many authors work. Here’s three examples – Quinn & Honor in Radclyffe’s Fated love; Poppy & Rosalyn in Clare Ashton’s Poppy Jenkins, and Liza & Annie in Nancy Garden’s Annie on My Mind.
Photos from the Bold Strokes Books Festival, May 2018…
Honestly, I’m not sure when I was last this excited as I am so looking forward to the upcoming BSB festival in Nottingham 5th & 6th May that I worry that my heart will surely burst.
These three words perhaps best explain why I am so excited: kinship, inspiration, and joy.
I’m thrilled by the thought that I will be spending time with people who might just say “Yeah you’re not the only one I feel that way too,” about writing, about reading, about life. The consolation I might feel when realising my writerly quirks are not quirky at all, and that I might not carry alone those worries I feel on dispirited days. The opportunity I might have to share an understanding of those moments of joy that keep us going, as we chat and laugh over a coffee or maybe a pint or I don’t know a bottle (or two) of wine.
I’m in awe with the thought that I will be spending time with people who are properly inspiring; those with the talent to combine blue sky thinking with a care and attention to the detail of things. To have the company of people who dare to dream and who have the courage to be open and to write from their hearts. To hang out with those who support writers to write, who understand that writing is a shared endeavour, a magical union of publisher, editor, author, and reader.
But most of all perhaps, I can’t wait to say a heartfelt thank you, to my colleagues, to readers, and for the opportunity to make history together as we participate in such a landmark event.
So see you in a couple of weeks and if you see me bursting with wonder and delight you’ll know why.
I’m thrilled to be taking part in the inaugural DIVA Literary Festival and Awards which are taking place at the Hilton Metropole, NEC Birmingham on 3rd/4th/5th November 2017.
The weekend will begin on the Friday evening with the DIVA Literary Awards and continue with two days full of book readings, writing workshops, panel discussions, poetry readings and much more.
Come and perhaps discover your new favourite writers!
To tempt your appetite for the weekend listen here to me chatting with Rosie Wilby and Heather Peace on Radio DIVA.
I chat about my debut novel Highland Fling, my publisher Bold Strokes Books and my excitement about the upcoming DIVA Literary Festival. (from 42mins)
I look forward to seeing you there …
Saturday Nov 4th 10:30 – 11:15 LEADING LADIES
Iconic literary characters live on in readers’ memories for all time. Bold Strokes Books authors explore the challenges involved in creating memorable characters and discuss strategies for making characters unique, non-traditional, and unforgettable.
Sunday Nov 5th 12:45 – 13:30 GENRE BENDING
From Fantasy to Adventure to Romance, Bold Strokes Books authors discuss what drew them to write in their particular genre(s). What are the similarities between genres? Where is there overlap? Do genre conventions matter?
Be it finding your way out of a confusing car park or poorly signposted building. Or indeed finding your way out of an embarrassing situation or, perhaps heartbreakingly out of a love lost or broken.
Finding the way out of feelings that hurt us is at the heart of life. But then mercifully there are those words that form stories, images, and ideas to be found spilling out of books, to console us and to show us a way through.
We find such solace in the shared experience depicted by the writer, who in turn is writing to find their own way out for those feelings and characters that crowd their head and heart.
It is therefore no wonder that those spaces that bring the reader and writer together are so incredibly precious. I couldn’t have felt this more when in the last few weeks I have been so fortunate to read at both Gay’s The Word and at LFest.
For me Gay’s The Word is not just a bookshop, and LFest is not just a festival, they are without question the champions of our words, our stories, and the providers of sanctuary for our hearts.
For nestled amongst the many shelves of books at Gay’s The Word and canopied underneath the dome of the big top at LFest, the audience looked back at me, waiting for the writers with their lips pressed to the microphone to speak the words with the potential to connect, inspire, and delight.
In those moments, paved by books, perhaps we found a way out together towards our queer future, illuminated in hope and wonder by the stories we love and share.
Finding the way in is at the heart of everything isn’t it?
Be it finding the way in to a confusing car park or a poorly signposted building. Or indeed finding your way in to establishing the common ground of a friendship or perhaps most importantly to the heart of the one you love.
Finding the way in is not only at the heart of life, it is at the heart of writing. It is that moment when a writer’s creativity sparks, igniting an imagined scene or character or dialogue. It is where the story begins.
I remember reading an interview with author Nancy Garden explaining how she found her way in to writing Annie on My Mind with a single line of dialogue.
“One rainy day…the words ‘It’s raining, Annie’ popped into my head. I know it sounds weird, but something told me that at last this might be the beginning of the book, although I didn’t know who was saying ‘It’s raining’ or who Annie was. But nonetheless that was how Annie on My Mind was born.” 1
Nancy’s explanation resonated with me as my debut novel Highland Fling began as much with a line of dialogue as with the setting of the Scottish Highlands. I could hear my main character Eve saying tenderly to her lover Moira, “You can touch me if you want”. These few words began a paragraph of writing, which then became a page, which eventually developed into a novel.
In a similar way my short story “Hooper Street“ in the anthology Girls Next Door: Lesbian Romance became the destined home for a phrase that had loitered in my head, potent yet aimless: “It was a Tuesday when…” The line now continues “I first met Abbie.” “Hooper Street“ had already been loosely drafted before those homeless words gave the story the purpose and orientation it needed. It peculiarly felt like those five words were fated to belong in the story, but that at some point they had been separated from it, like a dream half forgotten and then suddenly fully remembered.
For sometimes ideas, words, and images conjured by the imagination are so fleeting, that the writer is left chasing the memory of something, constantly editing and refining, working to get as close as possible to the perfect creative form just out of reach.
Despite the writer’s efforts to capture their imagination onto a page and to craft the perfect story, the ultimate meaning of a work lies with the reader. After all, the words and images that connected the story to the writer will not be the same words and images that connect the story to the reader.
All a writer can do is guide the reader in the direction we hope they will travel. But in the end, as it should be, the joy is the discoveries you make for yourself, the satisfaction of finding your own way in.
You will find me, should you wish, reading from Highland Fling and “Hooper Street“ and chatting more about writing at Gay’s The Word Bookshop, London, on 13th July, and at L Fest, Loughborough on 22nd July.
I look forward to seeing you then.
p254, A Conversation with Nancy Garden, interview with Kathleen Horning, Annie on My Mind, 2007 Edition, FSG
Here are some of the ways I think good dialogue contributes to a story:-
It can entertain – enlivening the prose and engaging the reader.
It can move an aspect of the plot or narrative forward in a way which, because it is absorbed within the ‘chat’, feels light and digestible – meeting the wise adage of show not tell.
It can impart information about a character, allowing the reader to: ‘hear’ the character’s unique voice; ‘see’ their mannerisms; and ‘understand’ their emotions/reactions.
It can reveal how a character can change depending on who they’re talking to, illuminating the distinct relationship between characters. For example, a character chatting with their best mate might have ‘banter’, but the same character with their lover may have much more intense dialogue.
It can heighten the potency and the impact of a character’s internal thoughts, at times playing with the unspoken monologues. For example, when a character thinks one thing but says the opposite.
Particularly if the piece is written in third person, where you have a silent narrator if you like, it can cleverly allow the writer to say things the narrator can’t. Dialogue lends a character a dangerous independence.
So here’s a checklist of some of the things I think about when I’m writing dialogue:-
Does the style of the dialogue I’m writing match the personality of my character? Is the ‘voice’ authentic to them?
Does the tone and content of the dialogue fit the moment in the narrative? Are the characters saying the right thing, in the right manner, at the right time?
Is the content of the dialogue engaging and informative, and will it help my reader better understand either the character and/or the plot?
Is the dialogue easy to read – does it flow?
Will the reader know at all times who is speaking and what is going on?
Have I been careful not to overuse dialogue tags – those speech tags attributing dialogue, actions, and emotions to a particular character?
Have I remembered that the pauses or pregnant silences can be as important as what is actually being said – the natural rhythm of speech if you like.
Try sitting in public spaces and listen to people chatting. Hear how they interrupt each other, how they might begin on one subject and end on another, how passionate or flat their tone is.
Can you (without looking of course) imagine what they look like, what their life might be like? What is distinctive about them – is it their accent, the pace of their speech, is their language – informal or formal?
And finally – listen to your characters chatting in your head (and they do!), let your writing be their voice.
“Thoughts about ‘Conflict’ in fiction writing”
In works of narrative, ‘Conflict’ is the opposition main characters must face to achieve their goals.1
A writer might employ two forms of conflict to create the tension which drives the narrative. Conflict may be ‘internal’ or ‘external’ – it may occur within a character’s mind, most commonly revealed in their internal debates or monologues or between a character and exterior forces, for example in conflict with another person or the world around them.
Writers will often employ both forms at once, as a combined tool, for the development of plot and character.
To avoid the conflict feeling forced or unbelievable a writer will embed the conflict at the heart of the novel, so that it is an integral element and arises organically and effortlessly.
Conflict creates drama and interest in a novel by setting seeds of doubt, it keeps the reader guessing, it invests the reader in the outcome, and keeps them turning the pages again and again…