Choc Lit, romance and heroes

At LWC, we love indie publishers so grabbed the chance to interview Lyn Vernham, the Marketing Director of Choc Lit. Check out their submission guidelines - they accept novels direct from writers, so you don’t have to have an agent.

1/Please could you tell us a little about Choc Lit
We’re an independent publisher, creating a delicious selection of fiction for today’s independent woman. An assortment, where heroes are like chocolate - irresistible!  Not surprisingly we are all big romance and chocolate fans!

2/And a little about your position there?

My official title is Marketing Director but my role covers a multiple of sins. From commissioning authors, editors, designers, print, production, distribution, sales and marketing. I can be visiting a distribution house one day (not the most interesting of places) to having pink champagne at the Romantic Novelists’ Association’s party the next (very glamorous but doesn’t happen often enough!).

3/Is Choc Lit looking for anything specifically at the moment?
I suppose we are all looking for something just that little bit different - the thirst (sorry) for paranormal continues and it would be nice to add a Dark Choc Lit to our selection but it’s not a requirement for submissions. However, what is a requirement is that the novel includes the male point of view and clearly develops the hero.

4/Which writer would you like to have for tea (and chocolate)?
Well I’d be crucified if I didn’t say my authors: Sue, Chris, Christina, Juliet and our two latest editions Margaret and Jane. We’re all big chocolate fans, it comes with the territory. We’re constantly discussing (and eating) chocolate as part of our promotional campaigns which includes describing our heroes in terms of chocolate.  We should really sit down and have tea (coffee for me) and chocolate on a regular basis – thanks for the idea!

5/What top tip would you give to an unpublished writer?

To continue to submit your work, don’t give up there are many reasons why publishers reject submissions.  Don’t take it personally.  Join organisations such as the Romantic Novelists’ Association where you’ll meet like minded individuals, some of whom are already successful.  Overall persist and learn from others. 

6/What are you working on at the moment?
I’m currently working on finishing off our 2010 novels - finalising delivery for our June titles (All That Mullarkey & Turning The Tide) selling in our September title (Trade Winds) and preparing our November titles (Want To Know A Secret? & The Silver Locket) for production. I’m overdue to look at our  2011 schedule which is almost full.

7/Does Choc Lit take unsolicited material i.e. without an agent?
Yes, we do accept submissions direct. The length of our review process seems to grow nearly every month,  I believe we’re now running at 6 months.  We recognise the difficulties authors face in finding an agent and intend to support direct submissions for as long as manpower and our voluntary readers allow.

However, it is important that authors read the publishers submissions guidelines carefully before submitting. We get a substantial number of submissions that are obviously just blanket mailed and they’re totally inappropriate. It takes my team hours to sift through the rubbish (as they call it) to get to those that really have looked at our procedure and taken care with their submission (including presentation and spelling). First impressions really do count!

8/How do you see independent publishers featuring in the future of publishing?
I believe if we can all carve our own little niche, we have the ability to survive and grow. We’re much more flexible and adaptable to change than the big boys. We may not be able to compete with them on the advertising campaigns and payouts for reviews, etc. but this makes us more inventive and innovative. Only those that embrace change and move with technology will survive. The industry is changing and we have to move with it.

9/What inspires you in a writer?
A good writer draws their readers in and never let’s them go! I love to be able to pick up a book and feel that I’m inside the story or the head of the heroine. The plots have to move just right and the writing be clearly descriptive and invoke emotions. I know I’ve got a good novel when I’m saddened that it ends. It takes great skill to get it right and I’m in awe of all authors.

 

 

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Lady Luck and Angel Plaudits at April’s LWC Live

The literary agent, Lucy Luck, spoke at this week’s LWC Live. Lucy started in publishing in 1997, and worked for over 8 years at Rogers, Coleridge and White Ltd.  In 2006, she decided to set up Lucy Luck Associates, an agency focusing on writers of quality fiction and non-fiction.  She had ten writers on her list but this soon increased. She worked hard during the first year to ensure that her writers were well represented throughout the world – to ensure that rights were sold not only in the UK but in the US and translation rights throughout Europe. An agent’s job is to sell rights for the words written by an author to be produced in different forms. Early successes with Catherine O’Flynn and Adam Thorpe put her agency on the map.

As an agent, Lucy loves working with the written word and knowing that someone else will respond to it. The risk taking in publishing has got less – this means it’s become tougher for first time authors to get published. But don’t give up!

Lucy receives 50 plus submissions a week – we asked her what would make her take on a writer and she said it’s the ‘voice’. A voice that gets under her skin and makes her read on. She takes on 2 or 3 authors each year from the slush pile.

A word of warning – writing in the first person and in present tense are very difficult. Also, writing needs practise – compare writing to learning a musical instrument or learning to be a ballet dancer. Both take years of practice – that’s not to say that there aren’t rule breakers but on the whole writers need to write! And remember to write for your enjoyment – don’t write just to get published.

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We also had our regular Angel Prodding and Angel Plaudits session after the main speaker.

 

It’s like a weight watchers weigh-in for writers. We just ask people where they’re up to with their writing and what they aim to do before the next LWC Live. 

We Angel Prod to remind them of what they’ve promised themselves. And give loving Angel Plaudits when they deliver. 
 

* Louise Christie turned up with her finished manuscript in a carrier bag to prove she’d done it. Huge plaudits.

 

*Simona Style (LWC Fiction Masterclass graduate) is up to 25,000 words or did you say 30k? - coming along very nicely indeed. 

 

*Bernadine Coombs has written 78,000 words and is gearing up to submit her novel to agents. 

 

*Brigid Coady, LWC regular, short story The Great Big Leap Forward is published any minute now ‘Even More Tonto Short Stories’ on May 6.

 

*Ben Johncock, absent because his baby is due soon - what sort of excuse is that - but revised synopsis has been sent to a few pet editors and is getting a good reaction

 

*Elizabeth Jenner - has been a quiet one but after some gentle angel pressing, has revealed herself to be a stunning short-story writer, and pulled out a 4-year old, vintage in fact, short story out from beneath the bed - she will submit to the Waterstones short story comp.

 

*Ivan Salcedo - First draft done, pledges to get his second draft done by the next London Writers’ Club meet on May 25

 

*Jayne Matthews - 1st act of play done, happy with that and still firming up the title.

 

*Marsha Moore  - First time at the club, but we hope not the last, her non-fiction work, 24 Hours Paris is out 12th May. Her novel The Hating Game (under pen name Talli Roland) will appear in early 2011

 

If we’ve missed anyone please let us know, it was the end of an inspiring talk and all of the above was scratched on the back of an envelope. 

Typically writerly object of passion, the Moleskin notebook was left at home that night…

 

Tell us what you’ve achieved with your writing and what you’d like to achieve in the coming month.

 

 

 

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Guest blogger: Marsha Moore on structure in a writer’s day

When I first started writing full-time, I wondered how on earth I was going to fill the hours ahead of me. I needn’t have worried - within a week, I’d discovered that organising cupboards, cleaning the floor (how had I never noticed how dirty it was before?) and foraging in the kitchen for anything that resembled snack-food took up plenty of time … not to mention the lure of Twitter and Facebook. In short, I became an expert in the art of procrastination.
 
After several weeks of being thoroughly annoyed at myself - and producing only a few random chapters - I’d had enough. I needed to get serious, to treat my writing as I would any other workplace task. I needed to form routines, set targets, and I needed to deliver. I’d done it for my previous employers, so why wouldn’t I do it for my writing?
 
So I made a routine, and I stuck to it. Getting myself to sit in my office chair at 8:00 am was half the battle. I allowed myself an hour for lunch - just like my office job - and I kept going until 4:00 pm. After a few months, I began to feel guilty if I wasn’t writing by 8:00 am or if I stopped early. Not everyone has the luxury of writing all day. But even if you only have an hour, if you set a specific writing time and stick to it, after a while it will become habit.
 
Now that I was in the chair, how could I measure my output? I had plenty of practice eking out the nine to five slog, so I needed to make sure I was actually writing.

 

Every writer works differently, but for me the most invaluable piece of advice on setting writing targets came from Stephen King’s On Writing. King writes every day (including Christmas!) and he sets himself a daily word target: in his case, 2000 words a day. Sometimes the 2000 words take him an hour or so, sometimes the whole day, but he always gets them finished. I liked the thought of having a measurable target so I decided to follow suit. It’s definitely a struggle some days, but at least when 4 pm rolls around I know I’ve accomplished something.
 
Things become a bit more complex when I have multiple projects on the go; for example, book promotional activities as well as writing drafts. When I’m trying to organise my head space, I break down the day into chunks, still setting definite times and measurable outcomes to make sure I don’t drift off and iron shirts or stare in the fridge for a few hours.
 
Writing requires inspiration and creativity. But it also requires an iron will to sit down and just write. Once your words pile up, though, you’ll be happy to have whipped yourself into shape!

 

LWC: Marsha Moore, originally from Canada, is a writer of both fiction and nonfiction. Her first book, 24 Hours London was published by Prospera Publishing 2009 and her second book, 24 Hours Paris, will be published next month. She has also signed a deal for her first fiction book, The Hating Game, under the pen-name Talli Roland, scheduled for release from Prospera Publishing in early 2011.

Follow Marsha on Twitter at @marshawrites

 

 

 

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Guest blogger: Patti Digh on how to write (a book)

LWC: brilliant guest blog from Patti Digh, author of LIFE IS A VERB: 37 Days To Wake Up, Be Mindful, and Live Intentionally  

 

My Photo

I get a lot of emails from people asking how to write (a book). So I thought perhaps an essay outlining my thoughts on the topic might be helpful—to me, in order to clarify the thoughts I have about writing—and, perhaps, to others. (You don’t write? Substitute paint, embroider, sing…for the word “write.”)

  1. Don’t set out to write a book. Form is not content. Let’s say that again: FORM IS NOT CONTENT. A book is nothing more than a commodification of ideas. Start with the ideas, the emotions, the thing you most long to say. If you don’t know, the writing itself will help surface what it is you want to say, but sitting still and waiting for a book to spring fully formed from your forehead will never happen. Will. Never. Happen. Listening to what other people have to say also won’t help. Good god, no wonder we all have writer’s block. We’re not even writing. Plumbers don’t have plumber’s block, do they? NO, THEY GET ON THE FLOOR AND CLEAR OUT THE WINDEX AND EVIDENCE OF MOUSE POOP UNDER THE SINK AND GET TO PLUMBING; which leads me to point number 2.
  2. Sit the hell down and write. Writer Ron Carlson has written so eloquently about this in his book, “Ron Carlson Writes a Story.” He reminds us to sit back down and stay in the room. When everything else in the world seems more attractive than actually sitting down and putting pen to paper (how sweetly archaic I am, thinking ANYONE actually writes on a college-ruled legal pad with a fountain pen anymore besides me), sit back down and stay in the room. SURE, I know the laundry just got fascinating, but sit the hell down and write.
  3. Write to write. Don’t say you’re a writer if you’re not writing. You’re not a writer, and who cares anyway, if you’re not writing. Even if you’re writing, don’t call yourself a writer. Say, instead, “I write.” It’s the verb that’s important, not the noun. “I haven’t been able to write,” people say to me all the time. “No, actually,” I respond, “You have been able to write, but you have chosen not to.” They usually walk away unhappy. We are always – ALWAYS – in choice. If you have a napkin and a pencil nub or a piece of dirt on a stick, you can write. Don’t let the “writer” take precedence over the “writing.” Let go of outcome. Forget blog statistics and the endless “freebies” that have sprouted online. Why does your blog need to lead anywhere? What’s all this striving about? Don’t search endlessly for a book deal before you’ve even written anything. Go back to #2: sit the hell down and write. Sit alone with yourself and a piece of paper without thinking about an audience, your database, the best way to market using social media.
  4. Long to say something. “How can I build a successful blog?” people ask me. I do not have a clue. I do everything wrong—my posts are too infrequent and far too long for a nation shocked by long uninterrupted blocks of text. What is your intention? To build a successful blog, or to actually say what is inside of your heart and mind and every single bloody cell of your being, and that you must somehow export it out into the world before you die? Much writing I read these days is to sell something by a formula. Is that your highest purpose? Is that the voice that is dying to be let free into the world? If it is, great, that’s fantastic! If not, stop it. Stop it. Sit with yourself and your unique place in the world and write it all down. Write it all down. Speak your voice. So many people say they need to find their voice. You have a voice, now use it, damn it. In the writing comes the thread. In the writing comes your unique voice, your way, your sense-making of the world around you. Can’t say what you want because people won’t understand or like it? Who are you living for? Yourself or people with wallets? Yourself or applause? Yourself or validation?
  5. Name the direction of your intention. See #4, above. Why are you doing this? Why do you want to write? To be on a bestseller list or to say something that only you can say in the way that you can say it? To leave behind a record of having been here? To scratch out some small surface of your story for others to learn from? To tell your Truth as only you can see it? To get optioned for a movie? To enroll people on your precious database, like so many prizes in a Cracker Jack box? Why? Name the direction of your intention. You can’t play two intentions at a single time on stage—which are you playing? Are you warning Hamlet or getting the audience to love you? Warn Hamlet.
  6. Ignore everybody. “People won’t like what I’ve written. They won’t buy it. It’ll never get published.” WHO CARES? Who cares.  Annie Dillard once said you have to be an orphan to write. Be an orphan. Write it. If you fear leaving it behind should you be hit by a large flock of seagulls and killed on your way to lunch, write it and fling it into the air by hitting delete. The only thing important about that difficult scene you need to write, but which would embarrass you if others read it, is that you wrote it. Write it all down, the worst imaginable things you think (trust me, you are not alone in enjoying the smell of your own farts). Just write it. Delete it if you must; the important part is to write it. Get it out of your system. Stop trying to manifest an audience.
  7. The writing is everything. Not the publishing. Not the work-shopping. Not the agent-shopping. Not the Amazon sales rank. Not the deciding who will play you in the movie (Meryl Streep, of course, for 90% of us, what with the accents and all). No, just the writing. The unsexy part. The part where blood drips from your forehead and you imagine yourself far more precious and special than you are.
  8. Shut up about ideal conditions. I am tired of hearing myself whine about needing a writing shed—and, frankly, I’m tired of hearing you whine about it too. I have two words for you: Concentration Camp. Beautiful, haunting, exquisite music, art, and writing, were borne of Auschwitz. Shut up about needing different colored walls. These are all deflections that serve only to keep you from doing the work. Your studio is too messy? Clean it the hell out and get to work. You don’t have a studio? Write at the dining room table like I do. Don’t have a dining room? Sit on the toilet and write. Don’t have a toilet? Got floor? Don’t have time? Have a full time job? So do I. So did William Gaddis, author of one of the most amazing American novels ever written. So did poet Wallace Stevens. Get over it. Talking about not having enough time takes up more time than it would take to actually write.
  9. Don’t believe the hype. Write your heart out. Put it out into the world (or not) and then write more. Don’t stop to head up your own Parade. Just write. Write like you are dying. You are.
  10. Read more. Read like your hair is on fire.
  11. Don’t take one more class. Everything you are doing to avoid actually writing is a deflection, including taking more classes. You know enough. Do you know the alphabet? Do you have a brain and a heart? You can write with JUST THAT KNOWLEDGE AND EQUIPMENT (see below).
  12. Make do with the pen you have. If only I had one of those cool astronaut pens that write upside down and in the rain, then I could write the Great American Novel. If I had one of those weatherproof notebooks… See #8. Write with a pencil nub. Just write. You don’t have the latest studio equipment. Too bad. Pretend you’re MacGyver and have to save the world with a safety pin and a piece of string. Imagine you are on a plane that is going down into the ocean and you need to scrawl last your words on a vomit bag with an eyeliner because that’s all you can find and time is short. Use what you can find. Because time is short.

That is all. End of rant. For now.

LWC: check out her blog, 37days for more wise words and inspiration. Tell us what you would write if you had just 37 days left - what would you want to write - without thinking of publishers, agents or readers? Leave your comments below.

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Still time to join up to LWC’s fiction masterclass

Thank you to Ivan Salcedo, one of our participants on the Fiction Masterclass for tweeting this morning: “Excellent 1st part of the masterclass. Miranda Glover gave some of the clearest and most sensible advice I’ve heard re fiction.”

There’s still time to join the Fiction Masterclass as all classes are recorded and as soon as you’ve paid, we can send you last night’s masterclass.

Special offer for latecomers: 25% off the total price, bringing the price down to £72 - that’s the same as a cup of coffee for a month.

Remember this is a global class - run via teleclasses - so anyone can join in spite of the volcanic ash!”

Next week, we have the author, Naomi Wood, who will talk about narrative, plot and structure.

Let us know today if you want to join the Fiction Masterclass:

kirsty@publishabestseller.com

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LWC competition winners announced

And, drum roll…..the winners are:

 

Lito Apostolakou

 

and

 

 

Ivan Salcedo

 

We will be sending you details shortly on how to join the Masterclass.

 

Thank you again to all other participants and do contact us if you’d like to take advantage of the 20% discounts exclusive to competition entrants.

 

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LWC competition shortlist

The shortlist for the LWC competition was announced earlier today by the Bookerseller’s blogger, Ben Johncock at the London Book Fair (two winners from this list to receive a free place on the LWC fiction masterclass). We asked each entry for a one sentence pitch on their novel (not an easy task in itself):

Lito Apostolakou:

“The Vanishing of Mina Laska”
Whose story, whose history survives? On the eve of the demolition of her family home, Leni Delapaska talks about life in the shadow of her famous sister who mysteriously vanished on October 6, 1943. But nothing is as it seems. Leni is concealing something. And there is someone else, long dead, residing in the ancestral home.

Ivan Salcedo:

Tom Esher’s unintentionally funny and often surreal journey towards becoming a better person is triggered by the untimely death of his estranged father - an event which leads to a disconcerting series of discoveries, not least that they’re communicating much better now one of them is dead.

Hayley Moseley:

My book surrounds domestic violence from the view of the children
Julie Owen-Moylan:

When a woman dies in a London street in 1952, she starts appearing in the dreams of four women in four different cities through time and space, but what is she trying to tell them?

Kate Mayfield: My book is about two elderly ladies from Camden Town who never die. (They are not vampires.)

We will announce the two winners shortly. All participants are entitled to 20% off the masterclass - just let us know if you’d like a place.

Thank you to all the participants for entering our competition - the entries were wonderfully varied and interesting.

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Last chance to join LWC’s global fiction Masterclass

 

cbsntype-main_FullThis evening sees the start of LWC’s Fiction Masterclass. We have a couple more places that need to be filled. Let us know by 6pm today if you’d like to take up a place. All classes will be recorded so don’t worry if you can’t ’make’ every class. 

 

 

LWC’s Fiction Masterclass is run via teleclasses - so no need to leave your sofa. 

 

 

Still unsure about booking a place? Get a taste here of what Miranda Glover will talk about tonight (Monday, April 19).  Click here to listen to Miranda.

 

 

 

bike pic 
 

 
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Win a free place on LWC global fiction masterclass

Thanks for everyone who retweeted our masterclass comp offer. ‘I want to write a novel and I would love to win a free place on London Writers Club global fiction masterclass.’ 

 

Please add a comment here so we have your name and email address for the draw and also tell us - in one line - what your book is about. Once we’ve got your comment, you will be entered into the competition.

 

The 2 winning names will be chosen by Ben Johncock @theBookseller blogger on Monday at 5pm.  

 

If you would definitely like to do the course whether you win a free place or not, book your place now so you don’t miss out and we will just do a refund if you are drawn out of the hat by Ben. 

 

Please note that the Masterclass has a limited number of places and at this late stage, we can only offer a refund if you win a free place.  

 

*Please remember to retweet our competition

 

And we’d love to see you at a LWC Live - our next meeting is on April 27. Full details here.

 

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Horace Bent from the Bookseller visits LWC Live

Thank you to Horace Bent for popping in to last month’s LWC Live. He commented in the Bookseller (magazine for all agents, publishers and writers):

“To Tibits in wettest London for the monthly London Writers’ Club meet-up, this time hosted by none other than this mighty organ. And the advice dispensed to the assembled novelists, eager for industry  insider pearls of wisdom? ‘Ghost-write a US president’s TV tie-in cookbook set in a school of wizardry about a fake-boobed model who suffered an abusive childhood who owns a cute cat that is an ex-cop on the hunt of a serial killer with a confessed shopaholic goth computer hacker sidekick who turns into a vampire and has fallen in love with a werewolf that works for the freemasons and whose cohorts are a bunch of time travelling lady detectives that present a popular BBC motoring show.’ Quite.”

 

You’ve been told.

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