WRITING FEATURES V. WRITING STORIES

Walking v. galloping and weaving v. unravelling

I was looking at the timeline of the publication of my books. I wrote the first five Sprite Sisters books in 30 months. The stories were each around 55,000 words – so 275,000 words in total. That was fast going. The most words I wrote in any one week were 6,000, followed by 4,000 and another 4,000 – 14,000 words in three days. I couldn’t think at all for a few days after that.

As a journalist, I was used to working to deadlines, but I’d never written more than 2500 words for a feature when I began writing The Circle of Power in May 2007. I had three months to work out and write that first story for Piccadilly Press. The other four Sprite titles I published with them followed at a similar gallop.

Then things slowed down. It took me a year to write the sixth Sprite title, The Boy With Hawk-like Eyes. It was partly because I was tired and partly because I didn’t have a publisher behind me, giving me an unmoveable deadline. It took me around nine months to write the seventh title, Magic at Drysdale’s School.

My point is that that sometimes your writing will gallop along and sometimes you need to take things gently.

Then there’s the difference between writing features (wearing my journalist hat) and writing stories (wearing my author’s hat). I find the two processes are entirely different.

With a feature, you do the interview, you do the research and you have a sense of the shape of the article before you begin. You know the length required. You know the angle and the tone the magazine is after because that’s what they’ve commissioned. As you write, you have things to draw on – quotes to insert, facts to note. Because your research is around you, the piece exists before you actually write it. You, the journalist, shape it and give it form. As you write, you draw in the elements together. Writing a feature is almost like weaving, as you pull together different strands and build new layers.

For me, writing a story is a completely different process because it exists only in my head. Having got my outline idea, I work out the general shape of the story and break it down into three parts – beginning, middle and end – then chapters. In that, the process is something the same, but where writing a feature is like weaving, creative writing is allowing something to unravel.

A story is something you have to follow. Despite knowing the concept and having an overall shape, I don’t know what will happen until the image or words drops into my mind – till I hear the characters speak them. That doesn’t happen until I get to precisely that part of the story – it’s one step at a time. Hence allowing the story to unfold.

If the part you are writing doesn’t come to you, there is nothing to write – so you can’t gallop. That’s where experience helps, as you know then to slow down and walk your idea.

And it will come – just in its own time.

Magic at Drysdale’s School, the 7^th Sprite Sisters story,

is available now as an e-book and will be published

as a print-on-demand paperback on 21^st June 2013

WWW.SHERIDANWINN.COM

MAGIC AT DRYSDALE'S SCHOOL

The 7^th Sprite Sister story is on its way!

It was an iron fist of a winter. For months, a biting easterly wind swept across Norfolk, chilling our bones and making us huddle indoors. When will it end, we kept asking? For months I was unwell and struggled to write. It seemed the cold would never pass and my book would never get finished.

Now, outside my window, the apple tree is covered with buds, clasped tight like tiny little pink fists. We have had the first rain in weeks – a gentle April shower. The air is bright and warming gradually. The birds are busy building their nests, the daffodils are in bloom and Spring feels as if it is finally here.

And I have finished my 7^th Sprite Sisters book, Magic at Drysdale’s School. It feels a good time to be launching what may be my final Sprite story – though I have left enough strands to carry on the series if I change my mind.

Here is the blurb for the back jacket:-

When Zak Ashworth joins Drysdale’s School, the Sprite Sisters and their cousin Verena know that trouble will follow. Zak carries within him the dark power of the screegling – one of the vile subterranean insects that he summoned to Sprite Towers and which brought terrifying danger to the Sprite family.

As Flame anguishes about having a secret magic power and Marina comes face to face with Zak, Ash is led to a mysterious stone. Soon the Sprite Sisters, Verena and Zak are drawn by an Earth power that none can escape. But where Zak goes, the screegling goes too –– and its dark magic will out.

I don’t have a jacket design to show you yet, but it won’t be long. Once that is finished, I shall publish my story as a print-on-demand paperback and as an e-book, the same as the other six titles. The magic of self-publishing is that once you have the component parts assembled, sending out your story to the world takes only a matter of hours.

The first five Sprite stories are set in one year when the sisters are aged 13, 12, 10 and 9 years. The Boy With Hawk-like Eyes – the sixth title – moves the story on two years so that Flame is now 15, Marina is 14, Ash is 12 and Ariel is 11 years old. The easiness chumminess of the sisters in the early stories has given way to teenage doubts and tensions.

In Magic at Drysdale’s School, Flame is wracked with worry about her magic power. Unable to tell her boyfriend Quinn, she feels torn between being honest – as she is, naturally, and wants to be – and having to keep secret one vital part of her being. The result is conflict.

The story follows hard on the heels of The Boy With Hawk-like Eyes and similarly the adults play a less important role. In these stories the magic must be kept absolutely secret and the sisters must make decisions for themselves.

As you might expect, much of the action takes place at Drysdale’s School. Flame and Marina are now weekly boarders at the big independent school, along with their Sprite cousin, Verena. Zak Ashworth has also joined Drysdale’s and his dark magic has followed him. Wary of Zak, the Sprite Sisters refuse to speak to him.

In the earlier Sprite stories, the sisters discovered that Sprite Towers was full of magic. They battled against the evil Glenda Glass and found the way to use their magic power to protect themselves. They discovered a plan that enabled them to travel back to the past, wrestled with an evil ghost and met a relative who had died ninety years ago. Using their magic power to travel through portals, the Sprite Sisters found a way to change the future.

In Magic at Drysdale’s School, Ash is drawn to a large stone outside the school chapel. With her power of Earth she is able to feel the power emanating from the stone. In this story, we enter the world of ley lines – known as dragon lines in China and Geisterwege in Germany. This is a story about Earth energy and magic pathways.

Will the Sprite Sisters continue? That, I don’t know at the moment. I have been approached by a production company and am confident that the Sprite Sisters will make their way to film or television in the next few years. A top Japanese agent is working hard to sell the series in Japan. Things are afoot in the world of the Sprite Sisters.

Meanwhile my creative thinking is moving to The Earth Stories. This trilogy will be set in Breckland, a wild area of West Norfolk inhabited by the Iceni tribe two thousand years ago. With a post-apocalyptic scenario, The Earth Stories will be about a small group of survivors who go back to the Old Ways and use Earth Wisdom. Their shamanic magic is challenged by another group of survivors intent on recreating technology as we know it today.

THE SPRITE SISTERS

Four sisters

Four elements

Four powers

LITERARY AGENTS AND THE DEVIL IN THE DETAIL

It might not be the most optimistic note on which to start the New Year, but I offer this cautionary tale on the subject of agents and rights. If I have one piece of advice to give – and this applies to all creative people, not just writers – never give away your rights unless you absolutely have to, and when you do give them carefully and in small pieces.

I have always tried to live my life being fair. In contract negotiation, I aim for a win-win outcome. I like to build long-term relationships and would never shaft anybody, because I believe that what you give out you get back.

In January 2007, I had the idea for the Sprite Sister books and approached Brenda Gardner at Piccadilly Press. I had worked with her before when she published my ex-husband’s first picture book in the 1980s. She liked the idea of ‘four sisters, four elements, four powers’, and a few weeks later offered me a contract for the first Sprite Sister story.

The Society of Authors helped me negotiate this, along with the second contract. I kept back the subsidiary rights such as e-book, film and television rights, which Brenda Gardner was happy about.

Then, in January 2008, as I was about to begin the third book for Piccadilly, I had an offer for a film option. This was from a producer I knew – had written a number of business features about her. However, having gone through the process of negotiating film contracts with my ex-husband for our newspaper cartoon character, I knew I would need an agent to help me. I approached three agents, all recommended by friends, and they were all interested.

As my first book hit the shops, I met with one of the agents and I liked her. She said she loved the books and would be ‘honoured’ to represent me. I was very pleased and believed we had a long, sound business relationship ahead of us. She set to work on the third book contract, but was not happy that Piccadilly had world rights to the Sprite series. Having worked for 25 years on picture books, I was accustomed to publishers having world rights: it used to be the only way they could fund the cost of colour printing. I understood that, as a small independent publisher, Piccadilly needed to make money from its rights sales. It was a break point: Brenda Gardner would not have offered the contract without world rights. That said, I had no idea of the overall ramifications of the world rights scenario.

My new agent got a slightly higher royalty percentage, but the work of placing the book had already been done. I turned down the film option offer, as I didn’t feel it was good enough and it would have tied up the books at an early stage

Fast-forward to June 2009: I was about to write the fifth Sprite Sister title, which Piccadilly said would be the last in the series. Though the books had gone down a storm in Germany (Piccadilly sold the rights to Fischer Verlag), they had not done so well here.

At this time, I was not at all well. I was having a breakdown and suffering from what would be diagnosed in 2012 as a serious and rare gastric disorder. My mother had been diagnosed with Alzheimer’s and my daughter was also very unwell. A few years before, I had gone through a bankruptcy and divorce, lost everything, and was still struggling to pay the rent. Every hour of the day was spent trying to write to survive. It was fraught – but it would pass.

On 22nd June 2009, I received an email from the agent saying she no longer wished to represent me. It came out of nowhere. There was no discussion. I mailed back, asking for compassion – but the door was shut.

It was a staggering blow, but I would cope. The long-term problem would come from the financial clauses in the contract.

You would think, would you not – from a moral point of view – that if an agent dumps you within less than 18 months that they would relinquish the right to their percentage of your royalties. Not so.

I called the head honcho at the agency and argued my corner as hard as I could. We keep the financial interest in your book rights, he told me. That is the way it is. What, even if Piccadilly sells the Sprite Sisters to the US in five years time, I asked, dumbfounded. Yes, he said, even then. But that’s not right, I said. If I dumped her, then fair enough – but she dumped me! It will preclude me getting another agent!

I could hear his shrug down the telephone.

The Society of Authors agreed with the head honcho. It was tough, but that was the way it was. The agent retains a financial interest in any rights they sell, even when the contract is terminated, they said. In my case, because Piccadilly owned world rights, it meant that any further foreign rights sales would also pass through the hands of the ex-agent. The agency financial department would check the royalty statements each year, but the ex-agent would not have to lift a finger.

In 2010, I set out to find a new agent. I approached six at literary agencies big and small and was turned down by them all. The rights situation with the Sprite Sister books was too complicated, they said. It felt as if my ex-agent had screwed me right and proper.

I knew I needed to break free of the ex-agent’s financial claim to future sales and to do that I would have to get back all the book rights. The German rights would stand: she would get her share of those sales and I would have to bite the bullet.

In Spring 2012, the first Sprite Sister book, The Circle of Power, went out of print. I asked Piccadilly if they would reprint. They said no and in the early summer agreed that the rights of all five titles would revert to me. In lieu, I bought up the remainder stock of 2000 books. At the same time, Piccadilly asked the agent to relinquish her rights in any future sales of the books and she agreed. I was free at last.

I set about re-packaging the titles, publishing print-on-demand paperbacks and e-book editions – and selling abroad.

I will have to give the agent a substantial amount of money every year for as long as the Sprite Sisters sell in Germany – and the signs are good with sales of 270,000. The experience stills galls. In October 2012, when my royalties came through, the financial chap at my ex-agency mailed me cheerily, saying, ‘We love your German sales!’ Yes, I thought, I’ll bet you do. Not bad for a year’s representation with no titles to place . . .

But I must look to the future. Recently, through the Society of Authors, I approached an agent in Japan, who is keen to sell the Sprites there. Last week I mailed an American agent recommended to me by a friend. One way or another, I will find a US agent and get them to sell the US rights.

This is an upside-down approach. Don’t have one agent – get several. Get a different agent to represent you in each territory. It means none of them will have a claim to all of your book rights.

If you have a UK agent, they will probably use subsidiary agents to sell foreign rights and you will lose another slice. If you go direct to the foreign agent, you have one slice taken off.

Brenda Gardner and I get on well and she has wished me luck in my venture. I am eternally grateful to her for giving me the opportunity to write five books for Piccadilly Press.

Occasionally I have to mail the agent and am polite. But if I ever see her, I hope she hangs her head in shame.

A few tips on rights as I see it:-

·      Read the small print: when offered a contract, get as much professional advice as you can.

·      Keep your subsidiary rights: don’t bundle them in with the book rights.

·      Negotiate a fair termination clause (if I had known, I would have tried to get a clause in which the agent relinquished their rights if they dropped me).

·      Self-publishing gives us the freedom to choose how and where we sell our work: use it to your advantage.

·      Never, ever, sign everything with one agent unless you have a very good termination clause that works in your favour, as well as theirs.

·      Be a buccaneer in your approach to self-publishing: fast, light and responsive.

·      If you agree world rights with your publisher and they sell foreign rights, it is unlikely you will see the advances from those foreign deals until the whole publisher’s advance has been earned out. Nobody tells you that beforehand.

·      If you value your sanity, remember it’s all a learning curve and there is no one ‘right’ way.

·      If you are working on a book and need financial help, ask The Royal Literary Fund. They helped me and I thank them.

CHRISTY'S PROJECT AND THE MAGIC OF READERS' LETTERS

 

There's nothing that gladdens this author's heart as much as an enthusiastic letter from one of my readers.

Authors of adult books may keep their readers for years. Genre writers, 

I suspect, keep loyal readers for decades. But as a children’s author, you capture your reader’s attention for a few years, if you’re lucky. There’s a 

small window in which your books may be cherished, then your readers are gone, grown and after new stories. But if a child likes your stories, they really like them and your characters become their world.

Chris Winn's jacket design for the new e-book

My Sprite Sister stories are aimed at girl readers aged 7-11 years. Marketing with social media is difficult with this age group. My readers are too young to tweet or use Facebook, but they write to me on my website (and I ask them to get their parents’ permission). Mostly they write once or twice, often asking for information for their book project. Sometimes they write to me, on and off, over a period of several years. Always I reply, and thank them. A connection is made, a question answered, an autograph sent.

I have received letters in German, French, Italian, and one in Japanese. Among others, there’s Ellie in Northampton, Daisy in Brighton, Sabina in Switzerland, Hi in New Zealand, Afra in India, Chioma in Nigeria, Meera in Saudi Arabia and Sharon in Myanmar.

With 200,000 Sprite Sister books sold in Germany, a high proportion of my readers’ letters are from there. Here’s a typical one:-

Dear Sheridan,
my english isn't very good, too (So I hope you can understand me). I've got a question: Are you going to film a movie about the Sprite Sisters?
That would be great! I love the sprite sisters!
And I'm waiting longingly for the 7th book.
bye Sophia
PS When you need an actor for the movie, ask me and I'm instantly there!

Recently, Christy Cheung wrote to me from Hong Kong. She was doing a book launch project in her English class at the Discovery College, and had chosen The Circle of Power, the first of the Sprite Sisters books. Christy wrote a polite letter asking a number of questions for the author biography. I replied with the information and said I would be pleased to see photographs of her Sprite Sisters merchandising idea.

I was delighted with Christy's imaginative and ingenious solution and thought that I would share it with you (with her parents' permission).

Christy's Sprite Sister merchandising object

To explain the concept of the books, the Sprite Sisters each have a magic power that relates to one of the four elements and the four directions. Flame, the eldest, has the power of the East and Fire. Marina has the power of the South and Water. Ash’s power is Earth and she stands at the West. Little Ariel has the power of Air and stands at the North. When the sisters work together, their power is balanced and strong. However they are not  always balanced and their enemy is very determined – so many adventures ensure.

Here is Christy’s introduction to her merchandising item:-

‘This is a scene from the first spectacular book of the Sprite Sisters – The Circle of Power. With all the sister's powers balanced, I thought that this scene represents the spirit of the sisters the best, all hearts united to fight for one thing together. All the sisters concentrating on their music along with the united powers, it's the best thing you could do and this leads you on to their first adventure and success in the Sprite Sisters series.’

The complete object

The green knob shows the four elements

Another view of Christy's merchandising object

Terrific, isn't it!

And, as I work through the Sprite Sister titles, another hits the digital shelves: The Magic Unfolds. This is now available as an e-book and print-on-demand paperback, with another of Chris Winn's wonderful jacket designs.

My latest e-book and print on demand paperback

Sheridan Winn is the author of the six Sprite Sister books: 

The Circle of Power, The Magic Unfolds, The Secret of the Towers, 

The Ghost in the Tower, New Magic and The Boy With Hawk-like Eyes.

You can contact her through her website: http://www.sheridanwinn.com

JOURNALIST-AUTHOR-PUBLISHER-BOOKSELLER

This blog was originally published on 3rd August 2012

I had never realised my writing career would require so much multi-tasking and so many changes of direction. But perhaps that’s just life: it has a habit of throwing curve ball when you least expect it. There’s a Spanish saying, ‘La vida es corta, pero ancha’: life is short, but wide. Or it could be translated as ‘free’.

You feel you have an innate talent. You learn the skills to apply that talent; work with as much determination, energy and focus as you can muster. Then it is down to the choices that you make – for there are always openings and opportunities to be seized, or not.

I have always believed that there’s an element of luck in every successful person’s life. I also believe that there is a lot more ‘luck’ out there than we realise – and that it is not just about spotting an opportunity, but knowing how to act upon it. Are you making the best decision? The way may be clear at the start, but there are brambles ahead: it may be better to turn down the contract they are waving at you.

The trick is to know when to act and which path to take.

Ah, would that life were so clear! As a birthday looms and another year of my ‘short’ life bites the dust, I am changing course again. It’s not a complete change – more a development of what has already preceded. But have I made the right choice? There’s the rub.

People with concurrent multiple careers – who, presumably, want their lives to be ‘wide’ – often adopt a ‘hyphenated’ professional identity. So we have the ‘teacher-painter’ or the ‘doctor-potter’.

I am, now, a journalist-author-publisher-bookseller. It’s all getting a bit complicated. As I wrote in my May blog, Bits, Bits, It’s All In Bits, I have agreed the reversion of rights in my first five Sprite Sister novels. In doing so, I have bought up the remainder stock from Piccadilly Press. There are now 2000 Sprite Sister paperbacks in my garage – all waiting to be sold. There are e-books to be published.

It was Charles Handy, Britain’s foremost management writer, who mooted the concept of the portfolio career in his book, The Age of Unreason, in 1989. Handy described ‘portfolio working’ as a lifestyle in which the individual holds a number of jobs, clients and types of work, all at the same time. He argued that, even if the portfolio worker made less money, his or her life would be freer and more interesting – and thus richer.

So how does this prepare me for my new role as a bookseller? Despite academic qualifications several aeons ago, everything I have learned, professionally, has been on the hoof.

I have chosen to take the leap. Now I have to quickly apply the skills I already have and learn the ones I need, to translate my decision into future success.

Experience has taught me that things and people turn up in my life as I need them. Not as I want them.

So, readers and book buyers, commissioning editors, foreign rights managers and film producers - come forth! I await you!

PS And please hurry up, as my life is whizzing by and I will soon be too old for all this dashing about.

Half a ton of books arrive

In the garage with my 2000 books

Hope the mice don't eat them

The new edition of The Circle of Power

Sheridan Winn is a freelance journalist specialising profiles of national and international business leaders; the author of the six Sprite Sisters book, and publisher of two of them. She has just launched the first book in the series, The Circle of Power, as a print-on-demand paperback and as an e-book. 

Find out more about her at http://www.sheridanwinn.com

CHAPTER FIVE AND THE PAINFUL TRUTH ABOUT WRITING

‘What’s it like being a writer?’

‘Are you disciplined and start at the same time each day?’

‘Do you listen to music when you write?’

‘How many words do you write in a day?’

‘Where do you get your ideas from?’

It’s wonderful and awful; no; absolutely not (words have their own rhythm and music interrupts the flow); anything between 50 and 5000; and, I have no idea, they’re just there when I need them, I reply.

 How does one explain that writing is as excruciating as it is exhilarating? Sometimes, you explain, the words creep along the page, sometimes they tumble out and, sometimes, if you’re really lucky and get ‘in the zone’, they will fly.

‘So what’s your typical day?’ they ask.

 This is how it often is.

10.00am. Coffee, strong and black, or a large pot of gunpowder and mint tea with some honey; either will guarantee I will need to go to the loo umpteen times in the next hour or so.

Necessary preparation

Ready to roll

10.10am. Upstairs to my office on the second floor, I create a new Word document for Chapter Five of ‘Magic at Drysdale’s School’.

The blank page

 This chapter is from my seventh Sprite Sister title. I know my characters by now. I know what peril I intend to place them in. The stories are fun to write; this should be easy. Off we go.

11.00am. Two trips to the loo, no words on the page. Go downstairs for a piece of Green & Black’s Milk Almond Chocolate and another mug of herb tea.

Well, it's necessary

11.10am. Climb the 26 stairs back up to the second floor and sit down at my desk. Get up and open the window to adjust the airflow, then go to the loo, again.

But why did I drink all that coffee?

 11.15am. While I’m in the bathroom, clean my teeth to get out the almonds in the chocolate that are sticking in my ancient, receding gums. On return to my desk I find there is still one bit still stuck and which is annoying me. Return to the bathroom and start the procedure again, this time with floss.

Distraction No 23

11.25am. Teeth now free of bits. Check my email and smart phone (this is done regularly through the day). Adjust the window again.

The worst distraction

 12.00pm. Answer the ringing telephone in case my aging parents have collapsed, only to find it’s a friend wanting a chat. If you have a lot of friends and a big family, you can be guaranteed frequent interruptions when you are trying to concentrate.

12.30pm. Stare out of the window. Stare at the keyboard.

Speak to me

2.00pm. 165 words now on the page. I will never get this written … Where are my characters going? I’ve had umpteen interruptions and my mind feels all over the place. 

 2.30pm. Time to go for a walk. Lie flat out on the grass and do some cloud watching, then sit under a tree and wait for inspiration. Now do I know what happens next in the story, I wonder, as I return home?

I should be able to clear my mind here ...

4.00pm. Refreshed, though still undecided, I stare at the computer screen. Remind myself that I am writing this book because I want to: nobody is making me. I am enjoying it, really I am. Check my diary again. 

Do the crossword.

I should be writing, not doing this ...

 5.00pm. Lie on the bed.

My back hurts

5.30pm. Back at my desk again.

Not to be beaten

5.35pm. Stare at the note I placed on the wall in front of me, some weeks ago. ‘Magic at Drysdale’s School – deadline end July 2012’, it says in large black type. Oh heck. Why didn’t I see that earlier? Four weeks and around 47,500 words to go.

Arghh.... hurry up, hurry up

 In that case …  Go back down to the kitchen, get a glass of cold rosé and come back up to my seat at the computer.

 6.00pm. As the day winds down and my neighbours return from their work, my mind settles and I know what my characters will do next. That’s the key – writing is easy when you have your plot clear. Within a few minutes, I’m away and into the zone. Time stands still, the noises outside the house recede and my concentration is absolute as my words zing onto the page. I'm on my way at last! 



Sheridan Winn is the author of the Sprite Sister stories. The sixth title, The Boy With Hawk-like Eyes, is available as an e-book. The first title, The Circle of Power, will be published as an e-book later this month and the other titles will follow.