An Interview with Alison May

Director Alison MayI am delighted to welcome the new chair of the Romantic Novelists’ Association, Alison May. Welcome and congratulations, Alison!

Before we talk about the RNA I would like to ask you about your own writing life and you’re your lovely books written independently or as one half of Juliet Bell.

What were your first breakthrough moments as a published writer?

I sold my first book, Sweet Nothing, in 2013 and it was actually the very first novel that I wrote. I’d been writing seriously for 11 years at that point though but it had taken me about six of those to work out that I wanted to write a novel. So my biggest and first major ‘breakthrough’ moment as an author was probably realising that I wasn’t built to a be a Very Serious Playwright, but am much happier writing novels.

My second big breakthrough was discovering the RNA’s New Writer’s Scheme, which I joined in 2011. The New Writers’ Scheme gives unpublished authors membership of the Romantic Novelists’ Association and a critique on a full manuscript each year from a working author in your sub-genre. Joining the RNA also gave me access to a whole world that I never understood before – a world of writers, but also editors and agents. I think it takes a village to shepherd a novel from idea to publication and the RNA is my village.

You co-write novels with writer and TV journalist Janet Gover, as Juliet Bell. Does this present very different challenges to writing your own novels?

Completely different. Neither of us are big planners when we’re writing on our own – Janet is probably more of a planner than me but that’s not saying much. Writing collaboratively we have to plan. We hardly ever actually write together in the same room so we have to plan the story to stop either one of us getting over excited and killing off a character the other desperately needs in the next chapter. That makes it a really different writing experience.

Writing collaboratively is also a great way to stop you from being precious about your own work. Having a writing partner who can, and will, just put a red line through your masterpiece is a sobering experience but ultimately a very healthy one I think for any writer.

How would you describe an Alison May novel?

That’s tricky! I started my career writing romantic comedies, and I still love to write comedy. I’m planning a return to that genre after I finish my current novel-in-progress. But, my most recent Alison May book, All That Was Lost, is neither romantic nor comedic. It’s an emotion-driven story about a woman who’s built her whole life on one single lie – the lie that she can talk to the dead.

How would you describe a Juliet Bell novel?

Juliet Bell writes modern retellings of misunderstood classics. She’s a sucker for a Bronte novel with a hero who is really anything but heroic!

What key advice would you share with aspiring writers?

Read lots and write lots. There is no substitute for actually getting words down on the page.

It’s definitely worth investing whatever time and money you can spare in developing your craft. I’m a big fan of writing courses and retreats – I run them myself and you should definitely all come on one – but they’re something to do if you are able on top of actually writing not instead of it.

Each author has their own favoured way of working – would you share yours with us?

I’m currently working on book 9, so you’d think that by now I’d have a definite process, wouldn’t you? Realistically it’s different for every book. There are a few constants though. I write horribly shoddy first drafts, and do most of the work on shaping the idea into an actual novel when I edit and revise. I always hate the book at around twenty thousand words, and regularly chuck out the opening 20k of a first draft and start again. I do very little plot planning and what I do I generally never look at while I’m actually writing. So what process I have is messy and disordered but if I try to organise and plan more and create order then I don’t write at all. It turns out messiness suits my writer brain.

 What project(s) are you working on next?

I’m currently working on a dual timeline contemporary and historical novel about witchhunts, both literal and metaphorical. It’s my first novel with a substantial historical storyline – the earliest I’ve gone in time before in 1967, and this goes back to 1695 so it’s a big departure for me from writing contemporary fiction, but I’m really excited about it.

You have just taken over from the lovely Nicola Cornick as chair and next year is very important as the RNA is 60!

What is your vision for the future of the RNA?

I see the next couple of years for the RNA as being about two things. Firstly I want to protect and nurture the things that are already so brilliant about the organisation – the sense of community, the mutual support, and the generosity towards new writers. I’m really keen to ensure that that sense of community continues and to ensure that it’s an inclusive community that welcomes writers of all forms of romantic fiction and from all backgrounds.

Secondly, I think every Chair wants to develop the association and make sure we keep moving forward. We have our diamond anniversary year coming up in 2020 with lots of events planned and lots of online activity to help our members engage directly with readers. We’re also working to develop some new education activities, alongside our existing New Writers’ Scheme, to provide professional development opportunities for both published and unpublished authors.

What has being a member of the organisation meant to you over the years?

So much. It’s almost impossible to overstate the career benefits of joining the RNA for me. I found my first publisher after a recommendation from my New Writers’ Scheme reader. I heard about my agent through a contact I made in the RNA. It’s a genuine privilege to be involved in leading the organisation.

I also can’t overstate the personal benefits. I’ve already said that the RNA is my village in writing terms, but that’s true in life terms as well. My RNA friends are some of the first people I message in a crisis or turn to celebrate good news.

How has the romance genre changed since you joined?

There are always trends and fashions in romantic fiction. I joined the RNA around the time Fifty Shades of Grey came out and kickstarted a boom in erotic romance. At the moment we’re seeing a big peak in sales of lighter, more escapist fiction. Sagas are also selling in huge numbers at the moment, often set in the mid twentieth century, and following a heroine, or group of heroines, through a range of trials in their lives, not just finding love.

Romantic authors are also at the forefront of tackling issues raised by movements like ‘Me too’. It’s absolutely right that we’re thinking about consent as a central part of how we write about sex and relationships.

LGBTQIA+ romance is also finding new readers at the moment which is brilliant to see. We want readers to be able to access as wide a range of romantic stories as possible – every reader deserves to see their own version of Happy Ever After on the page. And if you’re a reader who can’t find that in a book yet, why not join the New Writers’ Scheme and write your own?

Looking forward, how excited or optimistic are you about the future of the romance genre within publishing?

Incredibly excited. If you look at Netflix and other streaming services you can see that there’s a huge appetite for romantic stories. As romantic novelists we’re competing with all of those other forms of entertainment, but ultimately I believe that story is king. If you can tell a satisfying romantic story then there are readers out there desperate to hear that story.

Do you think organisations can stay genre specific, or is there a need for a more open working relationship within the industry, which reaches out to other genre specific organisations? 

I don’t think it’s an either/or question. There are no plans at the moment for the RNA to stop being a genre-specific organisation. I think there are genre-specific challenges that it’s good to be able to view as a single group. In romantic fiction, for example, we’re still fighting the perception that books predominantly written and read by women are somehow ‘less than’ and I think it’s valuable to have a strong genre-specific voice to address those sorts of issues.

But I’m also really keen to work across genres with other organisations. We’re really pleased to have a strong relationship with the CWA for example. Some of our local groups have already organised joint events, and I hope more will do so in the future. We also share ideas with one another at a Chairperson level and I think both organisations are stronger for having that relationship.

BIOGRAPHY
Alison May is a novelist, short story writer, blogger and creative writing tutor who grew up in North Yorkshire, and now lives in Worcester. She worked as a waitress, a shop assistant, a learning adviser, an advice centre manager, a freelance trainer, and now a maker-upper of stories.

She won the RNA’s Elizabeth Goudge trophy in 2012, and her short stories have been published by Harlequin, Choc Lit and Black Pear Press. Alison has also been shortlisted in the Love Stories and RoNA Awards. Alison writes romantic comedies and emotion driven fiction. Her latest novel, All That Was Lost, was published by Legend Press in September 2018.

She also writes modern retellings of misunderstood classics, in collaboration with Janet Gover, under the penname Juliet Bell (www.julietbell.co.uk & Twitter @JulietBellBooks).

Alison is currently Chair of the Romantic Novelists’ Association.

Website: http://www.alison-may.co.uk

Twitter: twitter.com/MsAlisonMay

Facebook: http://www.facebook.com/AlisonMayAuthor

Instagram: instrgram.com/MsAlisonMay

BUY LINKS:

Juliet Bell – The Heights

Juliet Bell – The Other Wife

 

Alison May – All That Was Lost

Meet romantic novelist Jane Cable

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Your first writing successes with The Cheesemaker’s House were very impressive. How did this help you find your way as a successful author?

The Cheesemaker’s House doing so well in a national competition gave me the confidence that I could tell a story, but also that I had a significant amount to learn. One of the judges, Sophie Hannah, took me to one side and told me that although she loved my authorial voice there was a great deal of polishing to do. I didn’t have the knowledge to polish it – I was self-taught so barely knew what she meant – so I took myself off to Winchester Writers’ Festival and began my real writing journey.

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What was the best advice you have been given by an experienced writer?

One of the tutors at Winchester that year was Margaret Graham and she has proved hugely influential. I knew nothing when I first attended her workshops – I’d never even heard of ‘show not tell’. She showed me (not told me!) what it meant and how to use it; she taught me about using all the senses, and so much more. She’s an incredible writer and a great tutor and I would urge anyone starting out to get hold of her wonderful little book, The Writer’s Springboard.

Please tell us about your exciting new release Another You.

Yes, the release of Another You has been exciting for me. With our wonderful mutual publisher, Sapere Books, it’s been given a great start in life so is selling well and getting some great reviews on Amazon and Goodreads.

Another You final cover.jpgIt’s set in Studland Bay in Dorset around the sixtieth anniversary of D-Day, and tells the story of Marie, who while struggling to escape her poisonous marriage meets a charming American soldier walking on the cliffs. But nothing is what it seems, and so begins a chain of events that will change her life forever.

How would you describe a Jane Cable novel?

Romance with a twist. My strapline is ‘the past is never dead’ and that’s a theme which runs through all my books.

How do you balance your research/writing/social media time?

Not always as well as I could! Whether I’m writing or researching depends on the stage I’m at with the manuscript, and I maybe spend too much time on social media, Twitter especially. I say maybe, because I do encourage interaction while I’m there and it’s now leading to some valuable contacts and activity, which is broadening the reach of my books.

Are you an owl or a lark?

Lark. Definitely. I get up early and start to write straight away. I’m good for nothing by late afternoon.

Do you plot your stories out first before writing the first draft?

The answer used to be ‘no’, but recently that has changed. I had an idea in my head for something slightly different, and when I approached Sapere they wanted a detailed outline and sample chapters. So I had to plan. Now I’m about to start writing the bulk of the manuscript and it’s useful to have the journey mapped out, but even when I was writing the sample chapters the characters began to do their own thing. And to be honest, I’m going to let them. If there’s one thing I’ve learnt it’s that they know best!

How influential have strong women been in your life and have they inspired your heroines?

My heroines do not always start out strong – Marie in Another You is battered and cowed by her marriage – and it’s her journey to find her strength that fascinated me. I guess I just like writing about wounded people. Life throws so many curve balls and people react to them in different ways, which is fascinating. But healing is possible – probable, even – and I like to show that in my books. It’s quite a recurring theme for me, now I come to think of it.

There are strong women in my family, and they have inspired me the most. Both my mother and my grandmother fought to make sure their children had better lives and although they were very loving women, they had rods of steel in their backs too. My mother taught me that above all I should be independent and it has proved a valuable gift.

How important has being a member of the Romantic Novelists’ Association been to you?

It’s been hugely important. It’s a fantastic network and when you embrace it, it embraces you back. The support is well and truly mutual. I’ve also made some great friends by being a member, most importantly when I moved to Cornwall. We don’t have a chapter here but meet informally and it’s great fun.

Other than reading what do you do to relax away from the world of books?

I’m an outdoors person so I love to walk and of course live in a great part of the world to do it. I also love the sea, although this year I’ve had some shoulder problems so I haven’t been in it as much as I would like. I love to travel too and adore spending time planning our next trip. Or the one after. Or the one after that…

You are passionate about ‘Words for the Wounded? How did you become involved with this inspirational charity?

Margaret Graham is the moving force behind this charity and at first I wanted to pay her back for all the help and support she’d given me. When I lived in Chichester our local independent authors’ group, Chindi, organised a mini litfest over a weekend and raised almost £1,000 for them. We were so proud.

Words for the Wounded exists to raise funds to help injured service personnel, and because the founders underwrite the running costs themselves every penny raised goes for the intended purpose. I’ll be making a donation for every Amazon review of Another You.

What is next for Jane Cable?

I’ve just delivered my next manuscript to Sapere and the book should be out towards the end of the year. It’s called Winter Skies and, like Another You, it’s a contemporary romance looking back to World War Two. It’s set in the Lincolnshire heartland of Bomber Command, and is about Rachel, who is trapped in a cycle of destructive relationships. But the past has a habit of repeating itself, so maybe it can provide the impetus she needs to set her free.

Social media links:
www.janecable.com
Twitter @JaneCable
Facebook Jane Cable, Author
Goodreads 

 

Meet prolific crime writer Margaret Duffy

I am delighted to welcome crime writer, Margaret Duffy, as my guest this month.

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Margaret, your website mentions your Czech granddad. Was he the person who inspired your passion for creating and writing stories began?

Although my lovely Czech Grandad told me spooky stories about castles with corridors where candles suddenly blew out he died after having had several strokes when I was quite young so any connection with him must be in my genes. The Czechs apparently are known to be story-tellers. My Dad had a novel called Many Bridges published in the fifties that was based on truth, the Czech Resistance during the Second World War. My flights of fancy started with writing a play with me acting all the parts, six of them, performed in the living room in front of my parents. I really hope they weren’t too bored.

Your work has been delightfully described as ‘police procedural with a touch of romance’, do you have to keep the balance carefully, as crime is your first love – so to speak?

My characters are married which I suppose is also a bit boring. Twice actually as Ingrid (Langley) found Patrick (Gillard) so insufferable at one stage that she threw him out (of her cottage) and went on to smash his classical guitar. She can be like that sometimes. Later, when he was recovering after being horribly injured serving in Special Services and turned up on her doorstep saying he had to find a working partner for a new job in MI5 she took pity on him. But don’t worry he said, no relationship, no sex, just a socialising job, perhaps at house parties given by the rich and famous. In a word, spy-hunting. They soon threw the sex reservation bit out of the window when the old magic of their original relationship resurfaced.
DCI James Carrick of Bath CID eventually marries his one-time DS Joanna Mackenzie too and the four end up working on cases together when Patrick and Ingrid are recruited by the National Crime Agency.

To date you have had over 20 Patrick Gillards, 4 James Carrick and 3 stand alone novels published. Was it the character, setting, or crime that inspired these?

It’s these characters that inspire me all the time, I’m much more interested in how they get the better of serious criminals than the crimes themselves. And criminals are usually rather stupid.

Do you plan each novel out meticulously before writing a first draft?

No, I never know how the plot will develop or end when I start, I just write until it sort of grabs me. I don’t do drafts either, just make corrections and polish it as I go. I find it helps me to picture exactly what’s going on.

What is the most fascinating piece of research you have stumbled across when researching a novel?

The most interesting piece of research I ever did was to read a paper on the various changes that take place with regard to dead bodies when they’re immersed in water.

When did you fall in love with the beautiful city of Bath?

We lived near Bath for several years and I had a job in the City centre. I was struck how, just behind the tourist-thronged streets, beautiful buildings steeped in history and obvious wealth were slum areas, drunks and the homeless. A good place to set crime stories. It’s changed a lot for the better now though.

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You are a member of the Crime Writers’ Association – what does the organisation mean to you?

The CWA is marvellous from the point of view that it’s so rewarding and valuable to mix and talk to people of like mind.

What key advice would you share with aspiring writers?

Aspiring writers should never take no for an answer, just work hard to improve what you’re trying to achieve.

What has been the highlight of your writing career to date?

The highlight of my writing career was getting my first crime novel, A Murder of Crows, published.

What is next for Margaret?

What next? I’m working on number twenty eight, Gillard’s Sting, and also trying to interest an agent, as mine doesn’t handle it, in a sci-fi crime novel, The Killing Mind.

Many thanks for your time in answering my questions and sharing some insight into your writing world. I wish you every success with your new project and hope you let us know when it is published.

http://www.margaretduffy.co.uk/

An interview with Linda Stratmann: Vice-Chair of the Crime Writers’ Association.

 

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Welcome Linda,

Your writing career did not begin with fiction, but with non-fiction study of historical crimes. Where did this interest in researching and writing about real crime begin?

It began with my mother! She was an avid reader and a lover of history, and she was fascinated by famous trials. We used to watch true crime programmes on television – we especially liked Edgar Lustgarten – and also discussed cases reported in the newspapers.

In all the cases that you have researched did one motive stand out above all others: greed, hate, love, necessity, premeditated or spontaneous revenge?

The foundation of so many murders is financial, but it is not necessarily always greed, sometimes it is desperation. People kill for insurance money, often to extricate themselves from debt. They kill to escape a relationship because of the costs and consequences of divorce. In the nineteenth century, which is the era I write about most often, poor families poisoned their children just to get the money from burial clubs.

It is not surprising that with such a vast amount of accrued knowledge on true crime that you turned to writing fiction. What was it that enticed you to set both your Frances Doughty and Mina Scarletti series within the Victorian period?

Many years ago I wrote about a Victorian case, the trial of Adelaide Bartlett in 1886 for the murder of her husband. The case was so complex that I realised I needed to understand the Victorians in order to discover the truth behind the lies and the euphemisms; I needed to know how they thought, and how they expressed themselves, and what they believed. The more I researched the more fascinated I became with every aspect of that period. It was natural to want to recreate that time in my fiction.

Both of these women have to overcome difficulties and work to make a life for themselves that is at odds with the expectations of their gender within the period. Were they influenced or based on real characters that you had researched?

Frances is not based on anyone, however Mina Scarletti, who suffers from scoliosis was inspired by two people. Eva, who had a very severe distortion of the spine, was the aunt of a friend of mine. I never got to know her well and she died when I was a child.
Annie Jane Fanny Maclean had a curvature of her spine and walked with a limp. In 1879 a scoundrel called Lewis James Paine romanced her and induced her to transfer her property to him. He then plied her with alcohol and withheld food until she died. A court found him guilty of manslaughter and he was imprisoned for life. Annie’s fate highlighted for me the vulnerability of a disabled young woman in the Victorian marriage market. I wanted a heroine who could overcome this and be strong and independent.

How far did you delve into the world of psychics to help Mina Scarletti unmask the Victorian fraudsters?

I have about a hundred books on the subject – so far! These are both contemporary accounts and modern studies. I have read numerous online journal articles and newspapers, both nineteenth century and more recent. I have also read books by Victorian conjurors and illusionists, and attended a Victorian séance workshop. When I describe a séance in my books I always have to know before I write it how the effects were produced.

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In the light of all your research would you agree that the truth is often stranger than fiction?

That is often the case, which is why I like to append historical notes at the end of my fiction books. I have just written one for the fourth Mina book because a reference I included was so odd that I felt I needed to reassure the reader I was not making it up.

Are you a detailed plotter when you start a new project?

I always know when I start who the villain is and how and why the crime was committed. I also write what I call the ‘back story’, the details of what has happened up to the point when my book begins. So I know the start and the finish, but what happens between those points has to be natural and organic, as my heroine needs to learn the facts and solve the mystery in a convincing way. That develops as I write.

In all the cases you have studied:-
Which real criminal did you most despise and why?

There are so many! When I wrote The Secret Poisoner I was especially appalled by Richard Overfield who cruelly and cold-bloodedly murdered his baby so he wouldn’t have to support it, by giving it sulphuric acid. He was hanged in 1824.

Was there a real criminal that you admired the cunning of even if not their actual acts?

In cases of fraud there are many clever people who misuse their considerable talents for criminal purposes. Harry Benson and Willam Kurr who I wrote about in Fraudsters and Charlatans were extremely able career criminals who overreached themselves through greed.

Was there anyone you empathised with, or at least understood their motive to commit murder?

Of course I don’t approve of murder, but I did feel sorry for Eric Brown. (Essex Murders) He had suffered constant abuse and cruelty from his father for many years and seen his mother being led a life of terror and misery. He dealt his father a fast and merciful death by planting an anti tank mine under the old man’s wheelchair.

Did you come across anyone who was condemned, yet would have been acquitted as innocent if they had been tried today?

I tend to find that most failures of justice go the other way – people who are almost certainly guilty being acquitted due to insufficient evidence to convince a jury. In the case of Holloway and Haggerty, however (Middlesex Murders) two men were hanged for a murder it is almost certain they did not commit, on the false evidence of a man who was trying to get his own sentence reduced.

What has been your proudest author moment?

The publication of The Marquess of Queensberry: Wilde’s Nemesis. Between forming the determination to write the biography and actually holding it in my hands was eleven years. The first eight were spent trying to find someone who believed in the project as much as I did!

How long ago were you diagnosed with hyperacusis and has it dramatically affected your daily routine?

Hyperacusis is a condition usually resulting from noise damage or physical accident, in which everyday noises, especially if high pitched are painful. The sound of laughter, squeaking brakes, babies crying, electronic beeps, clattering dishware, are all examples. I have had hyperacusis for over twenty years but it took several years to get a diagnosis because it was not well understood or known about. At the time I was working in an office and general office noises and daily travel were hard to tolerate. I can’t wear earplugs all the time as over-wearing makes my tinnitus worse. Since I retired from the day job I have worked from home and been more in control of my daily environment, so life is better. If I go out I carry hearing protection, but even with that, social gatherings are difficult and some locations, especially noisy restaurants, are impossible. I wrote about hyperacusis in one of my novels, The Children of Silence.

What do you do to relax away from the world of writing about crime?

I love cooking, and in the last few years have taken up baking sourdough bread. The scent of a crusty loaf baking in one’s oven is magical!

What is next for Linda Stratmann?

I am near to completion of the fourth Mina book, The Ghost of Hollow House, in which she is asked to investigate a haunting. I have also been commissioned to edit a new volume in the Notable British Trials series, which is a huge honour.

Thank you, Linda, for taking the time to do the interview and I wish you every success with your ongoing and future projects.

www.lindastratmann.com , Facebook and  Twitter 

Nicola Cornick, chair of The Romantic Novelists’ Association (RNA), an historian and award winning novelist, explains what the organisation offers both published and unpublished writers of romance.

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I am delighted to welcome back Nicola as chair of the RNA.

What can the organisation offer romance writers in 2018?

‘The RNA is the professional organisation that supports and promotes romantic fiction in the UK. Membership of the RNA offers authors the chance to strengthen their career through developing their craft at our workshops and conferences and to build a network with other authors who understand the challenges we face and can offer advice and support. We are also building strong links with the industry and our events give authors the chance to meet a wide range of agents, publishers, booksellers, librarians and other professionals.’

That seems to present a broad spectrum of activities and opportunities to support your members.

‘In addition, members receive Romance Matters, our quarterly journal covering all aspects of writing romantic fiction from the craft to industry issues, discounted tickets to all our events and the opportunity to join regional groups. So the benefits are both professional and social.’

Nicola stresses that although the emphasis is on the professional advice, events and networking a friendly and welcoming atmosphere is nurtured. So how does a writer become a member?

‘The RNA welcomes traditionally and independently published authors. Membership is in different bands: A full or independent Author Member is currently £50 (£57 for non EU based) and £60 for Associate Members (£67 for non EU based). All the details can be found online at or by contacting the membership secretary, Gill Stewart, on info@romanticnovelistsassociation.org.

The organisation also welcomes and encourages as yet unpublished writers into its ranks. The New Writers’ Scheme is unique as Nicola explains.

‘We’re very proud of the New Writers’ Scheme (NWS), which provides the opportunity for aspiring authors to submit a manuscript for critique by an experienced writer in the genre. Not only is it a great way for new writers to improve their craft, it also gives encouragement and support. As the RNA has close links with publishers and agents the NWS can provide a route for them to make those connections. Unsurprisingly it is hugely popular and each year a number of NWS members go on to achieve publishing contracts.’

The scheme is open to writers interested in submitting an unpublished romantic novel (or partial) and this year the membership fee cost was £135 (£145 for members outside the EU). This also allows unpublished authors to take part in all RNA activities as well as submitting a manuscript of a full-length novel for appraisal. More details are available by email to: NWS@romanticnovelistsassociation.org There is a cap on the number of submissions that can be accepted each year and acceptance into the scheme is therefore on a ‘first come first served’ basis. The entry slot for submissions closes at the end of August each year.

Today’s publishing environment seems to be becoming more challenging, but Nicola is very optimistic about the present market for the romance genre.

‘I think the romantic fiction genre is changing all the time to reflect both modern life and the changing publishing world. The genre is a broad one. You can find strong romantic elements in many different sorts of novels where people are writing about relationships, whether this is contemporary fiction or epic historicals or books for young adults. Our membership reflects all of these different threads. We also see the books reflecting the concerns of contemporary society, whether it is issues such as work life balance, infidelity or health. The recent return to popularity of Gothic romance perhaps reflects the idea that spooky stories resonate in uncertain times. And of course romantic fiction also continues to provide its readership with the wonderful feel-good stories that readers love.’

Looking forward, I asked Niocla if she thought that the scope for romantic fiction will narrow as lines in the market place are redefined, or do she saw it flourishing as it has done in the past?

‘I see a lot in the press about how the genre is being more and more tightly defined and categorised into sub-genres, but actually at the genre level, in the UK at least, I see it continuing to broaden out. There are romantic relationships represented in a whole range of novels from crime and sci fi to literary fiction. The RNA’s membership reflects that and our awards and events will continue to embrace that wider focus.’

How would Nicola like to see the organisation evolve under your tenure?

‘I’d like to see the RNA continue to provide great support for its membership whilst looking outward a bit more in our promotion of excellence within the genre. We would particularly like to build our relationships within the industry, with booksellers and librarians as well as with publishers and agents. We’d also like to put romantic fiction even more firmly on the map by reminding people what a very successful and dynamic genre it is in business terms.’

Nicola’s natural energy and enthusiasm for the genre shines through her vision, but can romance remain genre specific if there is a need or desire for a more open working relationship within the industry?

‘I think we can do both if we don’t constrain the genre too tightly. Our core role is to support our membership and as this is drawn from a broad range of romantic fiction this fits with the idea of needing a more open working relationship within the industry. With this in mind we are planning a series of joint events with the Crime Writers’ Association and the Historical Writers’ Association, amongst others, where we can explore the things we have in common and the support we give each other as writers more generally.’

 

Nicola Cornick is the author of dual-time gothic novels House of Shadows and The Phantom Tree (HQ) and also forty plus Regency romances. She is a former trustee of the Wantage Literary Festival and a historian and speaker specialising in public history.

 

Martin Edwards, chairman of The Crime Writers’ Association (CWA), explains what the organisation offers its members.

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‘The CWA is constantly expanding. So are the benefits we offer our members. Writing is a solitary occupation but we offer the chance to join regional chapters, attend our national conference, and receive an excellent monthly newsletter, Red Herrings – plus much more besides. Members value our various social media platforms, and the chance to promote their work to the large subscriber bases of the very popular Case Files and Crime Readers’ Association newsletter. But it’s the collegiate ethos of the CWA that remains its most valuable asset and benefit. In my 30 years of membership I’ve met many wonderful people, and made some very good friends. And their support, through good times and bad, is beyond price.

The CWA has changed a lot in the 64 years since it was founded by John Creasey. Although it is UK based the membership is international and is open to published crime writers, with provisional membership to writers who have a contract but whose book is not yet out: Full or Provisional Membership cost from £55 annually. There is also an option for associate membership for those in the publishing industry.

This does not mean that the aspiring crime writer has been forgotten.

We are keen to encourage new talent within the genre. The CWA is a professional organisation for professional writers, and others in the crime writing business, but – to take just two examples – the CWA Debut Dagger for unpublished novelists and CWA Margery Allingham Prize for new short stories both play an important part in encouraging and developing talent. We also have the CWA Criminal Critique service where, for fees beginning at £87 writers can receive professional feedback on, as yet, unpublished work.

The Crime Readers’ Association, which is free to join, was set up to make the authors, their works and events accessible to their readers. However, the new writer can pick up advice and tips, such as the Do’s and Dont’s when approaching a literary agent.’

Martin is very optimistic about the way the crime genre continues to evolve.

‘Digital publishing is changing the industry fast and nobody knows exactly what the future holds. But crime writing (fact as well as fiction) is as popular as ever. I’m a contemporary crime novelist, but I’ve been delighted by the revival of interest in classic crime fiction, and the truth is that the genre is a very broad church. So is the CWA.’

In light of all the changes that have happened in recent years within the publishing industry Martin views the future of the crime genre and the organisation in a very positive light.

‘I’m confident about the future of both crime writing and the CWA. Despite the fact that we have been around so long, today we have more members than ever before – and the number is rising all the time. That’s genuinely exciting. Writers face many challenges, not just when they are starting out, but throughout their careers, and the CWA is doing more and more to support them. I’ve also just appointed our first Libraries’ Champion and our first Booksellers’ Champion as we seek to collaborate with others for the benefit of all.’

Although the organisation is genre-specific Martin is keen to establish mutual links with other writing organisations within the industry.

‘Whilst the CWA is by definition genre-specific, I’m a firm believer in collaboration, and since becoming Chair I’ve initiated dialogue with a range of groups both here and overseas. A good example is our developing links with the Romantic Novelists’ Association, at both local and national level. Again, these relationships are mutually beneficial, and have great potential for all our members.’

Martin is a relatively new chair but he has already set many new goals to achieve during his tenure.

‘My aim is to oversee the modernisation and professionalization of the CWA, whilst remaining absolutely committed to its core traditional values of collegiality. Achieving this requires action on many levels – local, national, and international. We are modernising our infrastructure, strengthening our finances, recruiting more members here and overseas, and developing relationships with sponsors and other like-minded organisations. What we are seeing really is a quiet revolution, a radical one in some respects, but a process of making sure that the CWA and its members thrive in a challenging environment, and will continue to do so for the foreseeable future. We don’t neglect our past – for instance, we’ve just launched the British Crime Writing Archives at the wonderful Gladstone’s Library, near Chester, with a weekend festival, Alibis in the Archives, that was such a success that we plan to repeat it next year. But we also look to the future – for instance, we’re starting to work with the ALCS, and looking at how we might contribute to the work of the All Party Parliamentary Writers’ Group. A huge amount remains to be done, but our continuing growth illustrates vividly that writers see a real need for the CWA, and are keen to be part of a forward-looking association that always strives to support and promote crime writing in general, and its members in particular, as well as encouraging new writers into the genre.’

When asked what advice Martin would give to new writers of crime he explains that he is a planner.
‘The great thing about writing is this – you can always improve what you have written. A plan works well for me – not everyone is the same, of course. But even the best laid plans are sometimes capable of being changed for the better. So far, I’ve never changed the original solution to any of my novels, but I’ve tinkered with many other elements of my stories.’

Martin Edwards’ eighteen novels include the Lake District Mysteries and the Harry Devlin series, and The Golden Age of Murder won the Edgar, Agatha, H.R.F. Keating and Macavity awards. He has edited thirty five crime anthologies, and won the CWA Short Story Dagger, CWA Margery Allingham Prize, and the Poirot Award. He is series consultant for the British Library’s Crime Classics, President of the Detection Club, and Chair of the Crime Writers’ Association. His The Story of Classic Crime in 100 Books was published in August.

Catching up with Margaret James!

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Welcome back, Margaret! I was amazed when I realised that you were my first guest in 2013!

I was amazed, too! My goodness, doesn’t time fly? Perhaps this is because writing a novel is such a long process and sometimes another year goes by without us really noticing? It’s very good to be back. I see that since we were last in contact you’ve had several of your books published by Endeavour Press.  Many congratulations!

Thank you! I love the cover of your new novel ‘Girl in Red Velvet’, which is book 6 in the Charton Minster Series. What inspired you to create this series?

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The inspiration for the Charton Minster stories was driving past a country house in Dorset at least a decade ago. I wondered who lived there and later that evening my imagination started to run riot, conjuring up a whole family and their descendents. The first novel in the series is The Silver Locket, which is Rose Courtenay’s story. The subsequent five novels are about Rose’s children and grandchildren and even her great grandchildren.

Who is the ‘Girl’ in Red Velvet?

The girl in Girl in Red Velvet is Rose Courtenay’s granddaughter Lily Denham, who goes to university in the 1960s and meets two men who become her friends, the three of them have some great fun together, but then Lily finds she is falling in love with both of them. She makes a choice which looks as if it will turn out to be a very bad choice indeed. Or will it? What do all three of these people want and how will they get it? I hope I’ve given them plenty of challenges but that I’ve also given all their stories satisfying endings.

Do you remember the 60s with fondness?

I do because I was young and at university myself and having a lovely time living away from home. It’s quite difficult for younger people alive today to realise what a huge place the world was then. I went from living in a small rural community where I never met anyone who wasn’t British and white to living in a big city where I met and made friends with people from all over the world.

What is next for Creative Writing Matters?

We’re expanding our range of writing-related services all the time. We run two major international competitions (The Exeter Novel Prize and the Exeter Story Prize which incorporates the Trisha Ashley Award for a humorous story) and we offer mentoring and various shorter courses and smaller competitions, too. We’ve found that offering feedback on competition entries has proved very popular so next year we will be doing more in that respect by offering feedback on some of our short story competitions as well as on entries for the Exeter Novel Prize.

What is next for Margaret?

It’s reading the entries for this year’s Exeter Story Prize, which closed on 30 April. We’re constantly astonished and impressed by the range and quality of entries, so although this is a pleasurable task it’s always quite demanding, too.

I wish you every success with all your amazing ventures. Reader’s can follow Margaret on: Facebook Twitter    or you can visit  Margaret’s blog