Sunday, 5 October 2014

Writers’ Village Contest winter 2014

£1000 top prize for short fiction in Writers’ Village Contest winter 2014

£1000 is the top prize on offer for short fiction in the Writers' Village International Short Fiction Award winter 2014.

The second prize is £500, third prize £250 and there are five runner up prizes of £50.

A further ten Highly Commended entrants will receive a free entry in the next round.

Everyone wins because every contestant, win or lose, gains feedback on how their stories were graded - plus tips for improvement.

Winners will be awarded the title ‘Winner, the Writers’ Village International Short Fiction Award winter 2014’ and see their work showcased online.

Any genre of prose fiction may be submitted up to 3000 words, except playscripts and poetry.

Entries are welcomed world-wide.

The fee is £15 and multiple entries are permitted.

Deadline is midnight 31st December 2014.

Entry rules plus all winning stories since 2009 can be found at:

Monday, 19 May 2014

Interview with Chris Morton

A warm welcome to Chris Morton, author of two novels, one novella and one non-fiction book about teaching. Chris’ latest work is Phase-Daze-Phase-Daze-Phase.

Find Chris' Blog HERE
Buy Phase-Daze-Phase-Daze-Phase HERE

What was the first thing you had published?
English Slacker is my first published work. It probably shouldn’t have been. You hear many a successful author describe how their first few manuscripts never saw the light of day. There’s a famous saying that you need to get a million words out of your system before you’re ready to be published - Raymond Chandler, Iain Banks and Bill Bryson are all quoted as having said this. But with the revolution in independent publishing, it’s much more likely that you’ll find a way of getting that first novel into print. English Slacker was published, nominated for a Guardian award and then came under scrutiny from the literary community, all in a matter of months. I look back now and see a scratchy first attempt, but that doesn’t mean to say it doesn’t have a certain charm and originality. 

Tell us a little about Phase-Daze-Phase-Daze-Phase. 
I wanted to get away from the Kerouac influenced “voice” style of my previous works. Instead I went for a hard-boiled, punchy approach with short bitter sentences and plenty of dark atmosphere. I’m a fan of early twentieth century pulp novels and my plan was to move this style into a more contemporary environment. Although I changed my style, the subject matter is still the same. Slacker-lit, slice of life, realistic scenes that shy away from the fantastical elements - inertia is once again a major theme. A wish to stray from the path but the inability to do so. Plenty of nihilism. 

Why did you decide to self publish?
The revolution is here! Complete control! Publishing at the click of a button! But anyone who tells you that they had always intended to self publish is lying. The fact is, you send out your manuscript to agents, to the big publishers, confident that your novel will be snapped up in no time. A few months later you’re scrambling around searching for any small independent who’s willing to give your work a chance. And finally, when you’ve exhausted all other options, you turn to self publishing.
Self publishing has a lot going for it though - and it’s free. Goodbye to the vanity publishers!
But I think authors should be careful too. You need to get your manuscript edited, take your time and resist the urge to upload your first draft and publish it as soon as you’ve finished. To keep a high standard you need to aim high. Believe in your work. Write something of a quality that the big publishers require. Falling back on self publishing is a fantastic option to have but it should (and almost always does) remain a last resort.
It is by no means failing, however. Publishing companies have a lot to think about. I know this because I spent some time in the publishing industry. It’s not “publish good book, reject bad one.” It’s “publish what will sell, what’s hot at the moment, something similar to what we already have,” etc. 

What are your writing strengths and weaknesses? 
My stories are very believable. So much so that most of my readers think they are true. My weakness ... well, maybe they’re too realistic. Not heavy enough on the plot element. I love stories where not much happens. Where you dip into another world and that’s enough. Often with the books I read, this world gets shattered as the plot kicks in. I like the build up but I’m hesitant to kill it all with a big explosive ending. I also play games with the reader, suggest possible outcomes rather than describing it all explicitly. Some readers get it, some don’t, but it’s my thing, my signature. 

Do you have a writing routine or any odd writing quirks? 
For Phase-Daze-Phase-Daze-Phase I wrote 250 words a day for a year. Sometimes more, but always at least 250. It was a great way to write. No pressure, enjoyable, and I can highly recommend it. I don’t agree with the whole NaNoWriMo thing (writing 50,000 words in a month), putting yourself through hell but having a manuscript at the end of it. For me that’s nuts.

How important is it to you to plot your novels? 
Well, I’ve written two novels and one novella and for all of them I made it up as I went along. Great fun to write in this way. It’s even a bit like reading a novel, sometimes deciding what will happen next, sometimes allowing the novel itself to take over and lead you in unexpected directions.
I’d like to try the other method, making notes and plotting it all out first ... but at the moment that doesn’t hold as much appeal, and if I don’t enjoy the writing process, it’s difficult to give the novel as much tender loving care as it deserves. Maybe one day. 

Are your characters ever based on people you know? 
Some are based on real people, some based on characters in other books. Usually a character of mine is a blend of two or more people. 

What qualities do you think writers should have? 
Dedication, patience, an obsessive nature, bit nuts ... 

What are you working on at the moment? 
Nothing at the moment. I don’t want to write just for the sake of it. Waiting for another idea to come ... 

Which three words best describe you? 
I’m not good with these questions. I remember one time I had this interview for a teaching job in Japan and there was a section where I had to answer a set of questions with three word answers. I think it was supposed to test how careful I could be with my language when speaking to students. The interviewer was a well dressed, slightly prim and proper young lady, eyeing me nervously over her spectacles every time I began my answer with, “Mmmm, well, you know, I think that usually I ... hang on, that’s more than three words, isn’t it?”
To be honest she never gave me much of a chance. In retrospect she should have shown a bit more humanity, calmed me down and started again. Instead she kept pushing on to the next question.
“So, Chris, how would you motivate a quiet class who seem unwilling to speak?”
“Yes, I ... mmm, I have had a few classes like that in my time and I ... wait a minute, I’ve done it again, haven’t I?”
“I can’t emphasise enough how important it is that you use only three words, Mr Morton.”
But I couldn’t stop myself. Didn’t help that I’d drank an endless amount of coffee that morning. Finally she had to go out of the room to consult her colleague. Coming back in, she stressed again the importance of using only three words; then offered a final couple of questions to which I carefully stuck to the rules.
I remember the final question being, “What do you usually do to relax?”
“I ... watch ... TV,” I said nervously. “Hold up, TV is one word, isn’t it? Television, I watch television.” There I was, counting each word on my fingers, thinking that this time I’d really nailed it.
Suffice to say, I didn’t get the job. 

Chris lives in Taiwan and works as an English teacher. On most days you'll find him either throwing a ball at little kids, wandering around the night market with his iPod and bottle of medicine wine, or fussing over his rather spoilt Persian cats. Occasionally you'll find him writing too.


Monday, 28 April 2014

Writers' Village International Novel award

 Claim A £500 Cash Award For Your Debut Novel

A £500 cash prize can be won for a debut novel in the Writers' Village International Novel award, closing 30th June. Novels that have previously been self-published are also eligible. The winning author will be assessed by international literary agency A. M. Heath for possible representation.

The top eight contestants will receive personal feedback on their novels by the judge, novelist Michelle Spring, Royal Literary Fellow at Magdalene College, Cambridge. Entries are welcome worldwide.

Entry is £14.


Saturday, 1 March 2014

Interview with Louise Charles

A warm welcome to Louise Charles (pen name of Jo Lamb) who writes both short and long fiction. Louise lives in rural Le Marche in Italy and is now dedicating her pen, ink and paper to her novels, four of which are in varying stages of completion. 

Buy The Duke’s Shadow on Amazon in PRINT or EBOOK

Tell us about your proudest writing achievement.
Receiving the proof copy of The Duke’s Shadow in the post. Self-publishing is hard work and it was wonderful to see the final result in my hand. 

What are your writing strengths and weaknesses?
I love to read which I think helps to develop my writing. If I plan, I can write out the first draft and believe that rewriting is the real stuff, so am very open to constructive criticism. My weaknesses are commas and apostrophe’s which seem to appear in all the wrong places and a habit to talk down my writing accomplishments. 

Do you have a writing routine or any odd writing quirks?
I prefer to write first thing, before my brain really wakes up, in that kind of midway state of consciousness, but that’s not always possible so I do force myself to write at all times of the day. I love to use a fountain pen and paper for first ideas/rough drafts and usually end up with very inky fingers. 

How important is it to you to plot your novels?
I used to think I could just sit down and write, but that was a romantic notion. Now I do plan, using a mixture of approaches but most particularly scene planning, just a few words about what I think I want to write, then writing it. In a 45 minute session I can usually write 1500 words if I’ve planned it first. 

Are your characters ever based on people you know?
No, never. A mixture of characteristics perhaps but never a real person. 

Who is your favourite author and why?
I read across many genres so it would be hard to choose one. At the moment I’m reading George R R Martin (The Game of Thrones) who has wonderful ability to draw a fantastical world, but I also like Kate Mosse for her ability to weave a hint of supernatural, Jodi Piccoult for the difficult themes she portrays so effortlessly and Philippa Gregory for her take on historical happenings. 

What qualities do you think writers should have?
Perseverance, determination and more perseverance. The ability to use constructive criticism to develop your writing (for me) is also key. 

Which three words best describe you?
Terminal People Watcher (drives my poor husband mad!) 

What are you working on at the moment?
Two projects, one is a fantasy novel that I completed during NaNoWriMo 2013 and the other is a series of light vignettes called The Good (Expat) Life, based on some of my experiences moving to and living in Italy.

What advice would you give to an aspiring novelist?
Write, Write and Write! And be prepared to learn new skills, particularly if you go down the self-publishing route. 

Louise Charles is an accomplished author and has short stories published in My Weekly, Peoples Friend, in several anthologies as well as numerous online publications.
Louise founded the online writing group for expats, Writers Abroad, which has contributed to and published four anthologies, the profits of which are donated to book charities.


Friday, 14 February 2014

Writers’ Village Contest summer 2014

£3,000 is the top prize on offer for short fiction in the Writers' Village International Short Fiction Award summer 2014

With £4,500 in total prize value, the Writers' Village award is one of the world's largest short story competitions that welcomes new writers from anywhere in the English-speaking world.

Any genre of prose fiction may be submitted up to 3000 words, except playscripts and poetry. Entries are welcomed world-wide.

1st - £3,000
2nd - £500
3rd - £250
Plus 15 runner-up prizes of £50 each.

The top 50 contestants also gain a free critique of their stories, win or lose.

Winners will be awarded the title ‘Winner, the Writers’ Village International Short Fiction Award summer 2014’ and see their work showcased online.

Deadline is midnight 30th June 2014.

Entry rules plus all winning stories since 2009 can be found at:

Sunday, 26 January 2014


By Michaelbrent Collings

Writers are fond of finding exceptions. It’s part of who we are, I guess. I mean, if we were people who liked following rules we’d already be in a more “normal” profession. We’d be doctors. Or lawyers. Or terrorists. Anything but these free-wheeling weirdos for whom “Pants Optional” is a huge job perk.

So good luck finding a “writing rule” that really IS a rule.

Imaginary Teacher: In writing we never use run-on sentences.
Imaginary Student Writer: Unless you’re Shakespeare. He did it. Like, all the time.
IT: Yes, well. Of course. So I guess you can use them. Just don’t use sentence fragments.
ISW: Everyone speaks in sentence fragments. And poets pretty much only use them.
IT: Of course. But one rule is that we never start sentences with a conjunction. And the reason for that is –
ISW: Uhhh… you just did that.
IT: Get out of my class before I kill you.

And the student leaves, usually makes a comment in his mind about how the teacher is teaching because he couldn’t make it as a writer, and goes off and, you know, writes. Usually breaking as many “rules” as possible for spite.

Upshot: no rules.

Except. There are. There really are. Just a few.

Just three. And you can’t break them. Not ever. Not and hope to keep an audience.1

Before we get into those three, let me give you a quick rundown of who I am. Not to brag, but so you know that, unlike the Imaginary Teacher, I’m not a bitter crab of a human who is preaching from a pulpit built of broken dreams and angry might’ve-beens.

I am a bestselling author, a produced screenwriter, and one of Amazon’s Most Popular Horror Writers (for well over a year now). I belong to the Writers Guild of America, which requires you to have sold numerous professional works and is statistically harder to get into than Major League Baseball (no joke). On the Amazon bestseller lists (the big ones, like Horror, Thriller, Sci-Fi, etc.; not the ones like “Bestselling Novels About Cats Named Eugene Who Are Transgender Spies For Unknowing Government Agencies) my books have spent a cumulative total of years (not bad for lists that update hourly). As of this writing my twenty-fourth (or is it –fifth?) book, Crime Seen just came out, and two of my books were just put on the preliminary ballot for this year’s Bram Stoker Awards. Again, not bragging, but so you’ll know when I’m talking about rules I live by, I’m talking about rules I use to actually DO this stuff.

And here they are. There are three. Only three, no more, no less. And every other skill I know, every other technique I use, hangs on the framework provided by one or more of these rules.

1) Bore Me And Die
2) Confuse Me And Lose Me
3) Make Me Better Or Leave Me Alone

Let’s talk about each.

1)  Bore Me And Die

This is first because it MUST be the first consideration of any storyteller. It may not be the most “important” from a cosmic “will I be remembered when I die” sense, but it is first from a “will I even sell a book to anyone in the first place” sense. People come to fiction for many reasons, but the thread that runs through all them is this: they want entertainment. They want to experience new things, to go to places and see new things and be new people they have never been.

How many of you have ever looked for a new and exciting book? Whoa, don’t crowd me!

How many of you have ever gone on a quest for a boring book about things you do on a daily basis – something titled, perhaps, My Day Waking Up, Then Making Breakfast, Then Going to the Bathroom, Then Working a Lot at a Job I’m So-So About, Then Eating Some More, Maybe Another Bathroom Break (or Two Depending on if my Fiber Bagel Kicks in), Then Home, Then….

Yeah, you get the point. You probably phased out around the third “then” in the title. That was intentional.

You gotta excite your audience. Not just once, but over and over. Every page, and more than that (since pages for a lot of people are largely a function of how big or small they set their text function on their Nooks or Kindles), every sentence.

Bore me and I’ll put the book down.

Bore me and I’ll look for entertainment elsewhere.

Bore me and you’ve lost my interest as a reader.

Bore me… and die.

2) Confuse Me and Lose Me

This one is a natural extension of the first. You have a riveting story. There’s action, suspense, intrigue, a quirky secondary character with a funny name who collects artisanal bongs and believes the government is secretly stealing his skin. It’s all there.

And the first page starts out:

Dell couldn’t believe it. He was sure it was him that had followed him. Because she was on it when it happened, and she wasn’t there with her. The thing she believed most of all – that God had transported from space and was now there with her – was troubling, but not enough to keep Dell from defending herself from the robot ninja dinosaurs.

Okay, so if you’re like me, you instantly zeroed in on the fact that God came down from space – a highly bizarro and (possibly) fascinating concept. Also, there were robot ninja dinosaurs. Which, as everyone knows, make everything Instantly Awesome.2

But I had NO FROIKIN’ CLUE where these character/set pieces/flaming hot piles of radicalness belonged in the story. I THINK Dell is the main character. But I’m not sure if Dell is following or being followed. I don’t know what “it” she was on, or what “it” happened. Heck, I don’t even really know if Dell is a boy or a girl.


Now a sad reality of life is that books are becoming viewed more and more as consumables, less and less as treasures. A few hundred years ago if you could read and you bought a book and it was difficult, you muscled through it. Because that was something that educated people did and because you wanted to be able to impress yon maeiden faire with your impressive myte and knowledge trew. But also because it was likely the only book you could afford, or even the only one you were going to see for a while. It was a treasure.

Now, books are less and less treasures and more and more consumables. That is great for authors in that people like to read and are plowing through tons of books. It means, though, that a lot of people are going to take any confusion as an excuse (if only subconscious) to put the book down. They’ll watch a show, or feed the kids, or even get another book. Because it’s easy to do all those things, and why try to figure out Dell’s relationship to the robot ninja dinosaurs if there’s probably a TV show on that will explain the legend of RNDs for her, no thinking required?

Books don’t have to be dumbed down. They can be challenging. But I firmly believe that they should say something clearly. If you want to build in layers so that the reader discovers more under the surface on a second (and third and fourth and fifth) read-through, then by all means, do that!

But the first read-through should be understandable. Not just on a macro-level, but a micro-level. Chapters should contribute clearly to the work as a whole. Paragraphs should contain coherent thoughts. Sentences should be phrased so there is no question as to what pronoun refers to what antecedent. Words should be chosen with absolute care.

A few “writers” get all testy about this. “But… but… that’s so much work.”

Yeah. Being a writer is a LOT of work. I used to be a big-city lawyer. Now I’m a laid-back writer. Guess which “me” works longer hours. If you’re afraid of spending time getting it right, go do something easier. Brain surgery, or quantum physics.

You’re a writer. Suck it up.

3) Make Me Better Or Leave Me Alone

A few of you might have noticed that these rules are NOT written from the point of view of the writer. No, they’re written from the point of view of the READER. From the perspective of our AUDIENCE.

This is intentional.

Because the reader is the person on whom I am going to inflict my work. The person who will enjoy my triumphs, but who will have to suffer through my mistakes. And I’m not talking about typos here. I’m not worried about whether I used a semi-colon correctly or if I misspelled “pneumonoultramicroscopicsilicovolcanokoniosis.”3

No, I mean that every work that goes out into the world should go out with the intention of improving the world. Of making the world we live in, this lone and dreary place, a little bit better. A little bit closer to Paradise. A little bit closer to God. Even if you don’t believe in God as a reality, think about it for a moment as an abstract – an all-powerful, all-knowing being who wants nothing but the best for us.

Who does that sound like?  An author, perhaps?  You, if you wrote your story correctly?

That’s intentional as well.

You are the god of your story. You craft and create a world, organizing all the ones and zeroes of your computer program into something amazing. Out of the quantum nothing of computerized chaos emerges character, setting, plot.

And what then?

What is the purpose, the point?

Some of you may be turning up your noses at this point, saying, “This is none of his business. I write what I write, and I don’t worry about whether it improves the world. It’s art, dammit!”

But I hope not, because I’ve heard that line of reasoning before, and it always makes me sad. Here’s why: because I have a psychiatrist.

Wait, I’ll explain.

Mental health issues don’t run in my family. They gallop. And then do periodic wind-sprints with the song “99 Luftballoons” playing in the background. I don’t know why.

So a lot of us have to see a mental health care person. A therapist, a psychiatrist, or a combination of the two. And they all have one thing in common: they expect US (the patients) to pay THEM (the person listening). Which I think is weird, being as how we’re doing all the talking, but whatever, it’s the way things work I guess.

What does this have to do with writing?  Everything.

I think "artists" – meaning people who do creative stuff and expect others to look at it – have a responsibility to leave their audience better than they were before reading it. This doesn't mean "shiny happy feel-good" necessarily, but BETTER. Sometimes this means challenging them to look at the world in a different way, sometimes it means giving them hope in the darkness, sometimes it means just allowing them some time to escape and enjoy something for a few hours of pure fun.4

But I am disheartened when I hear "artists" talk about how they create without regard to what their art will do or what effect it will have. I have to admit that I always have the same thought when that happens: "You're not an artist, you're an a**hole."

And here’s where the part about my crazy family comes in: if someone is creating without regard for their creation's effect on the outside world, then what they're doing isn't art, it's therapy.  They’re working out their issues, figuring out their damage, opening up their baggage.  They just happen to be doing it for all the world to see.  Unfurling their dirty underwear and waving it around in the front yard like… well, like a crazy person.  And then holding out a hand and saying: “This show is $4.99!”

And remember what I said about therapy?  Remember who has to pay?  That’s right: the person getting treated.  So airing your dirty laundry and then expecting an audience to pay for it isn’t just wrong, it’s bass-ackwards.

No, if you are going to create art and send it into the world, it isn’t for you anymore, it’s for everyone.  Don’t say otherwise – if you do you’re either selfish or a liar.  And if it’s for everyone it should make everyone better.  It should improve the universe that it has become a part of.

It should represent you, and in so doing, should be your agent for positive change.


There really aren’t many rules that you CAN’T break as a writer.  But there are a few.

Three, to be exact.

Break any of them and you’re still writing.  But a WRITER?


1. I’m assuming you are interested in being a professional writer here. And by “professional writer” I mean “gal or guy who writes creative fiction that people will pay for.”  And by that I mean you tell stories, people buy ‘em. Technical writing and the like is slightly different, though it often adheres to some of these rules as well.
2. If you do not believe this, you have no soul and I pity you.
3. I didn’t. I rock at that word.
4. Just relaxing is important sometimes. Try clenching a muscle and keeping it tense as long as you can, then see how it feels the next day. Ouch! Brains are like that, too. Only it’s messier when we try to bench press something with our minds.

Michaelbrent Collings is a #1 bestselling novelist and produced screenwriter. His most recent novel, Crime Seen (, Crime Seen (Amazon UK) is a paranormal thriller.

He hopes someday to develop superpowers, and maybe get a cool robot arm.

Michaelbrent has a wife and several kids, all of whom are much better looking than he is (though he admits that's a low bar to set), and much MUCH cooler than he is (also a low bar).

Michaelbrent has more writing advice at his website, also has a Facebook page at and can be followed on Twitter through his username @mbcollings. Follow him for awesome news, updates, and advance notice of sales. You will also be kept safe when the Glorious Revolution begins!