New online magazine!

This issue specifically addresses self-censorship in memoirs, so read on...

How Not to Respond to a Review - or a workshop critique!

Check it out! Now, when someone workshops or critiques your work, think back to how uncomfortable you felt reading the author's repeated defenses of her own work! A much more professional approach is to make note firstly of the good things that have been said about your work. And I do mean make a note! It's very easy to hear what people thought could be improved and much harder to remember the elements they enjoyed or thought worked. So, make a note in your writer's journal 'X said my characters were well developed. Y liked my writing style. Z felt my descriptions were vivid.'

Then, calmly and professionally make a note of the areas that need improvement - and notes to yourself on how this might be accomplished. This should help put you in the mindset of revising, rather than defending your work.

1. Opening para needs work - can I introduce the character straight away involved in some action which will show the reader who they are rather than tell them?

2. Mrs. B is too cliched - maybe I should model her more on Aunty May - give her A.M's mangy German Shepherd rather than the spinster cats? She could walk past the local school muttering to it. Kids think it's called Adolf? When really it's Alf?

3. Middle section needs more action - think about it, but there are possibilities to use the best friend situation more. (Or the breakdown in the marriage?)

4. Ending too weak. I'll think about that. Is it too throw-away? But what I emphatically don't want is a too-neat, every tied-off ending. It might be weakened by other problems - partic. the middle section. Leave this revision to last.

Part of being a professional writer is being able to distance yourself from criticism and the editing process - it's not personal. Any critiqueing, whether it's from an editor, a workshop group, a writing tutor or a friend-reader should be about making the work itself stronger. It's one of the hardest lessons to learn, but if you can learn it in your apprenticeship, it will save you from appearing unprofessional. The golden rule in publishing is, of course, never reply to a review unless they actually have a fact wrong - and even then, think a long time before you send the email! Too often you'll simply look whingey at best, unhinged at worst.

Reading as a Writer

I first started my journey reading as a writer when I was on my poetry apprenticeship. I began looking at how poets put a poem together, the images they used, the way motifs or images piled up in a poem, the way line breaks worked - or didn't - and how and why a certain poet was recognisable.

It took me a long time to take this slowed down reading to prose - partly because when I picked up a novel or a short story, I was immersed in the story - reading to discover what happened next.

Reading is one of the most important tools for better writing, however, and when I started to write novels, I began to read novels in the same way as I read poetry. Ahha! That's how that plot element is introduced! That's how the central character is first introduced. This dialogue has a subtext the characters aren't aware of, which enriches my reading experience and furthers the plot. Oh, and how beautiful this passage of descriptive writing is - but look, it's not just describing a setting, it's also adding to my understanding of a character. Sometimes these observations were more about the nuts and bolts of writing - why has this author chosen a multiple point-of-view over a limited point of view. Why have they written in the present tense. If I go through this piece and change it to past tense would I lose anything? Wow - there's an historical inaccuracy! And so on.

Textual analysis is often shunned by new writers - and new students. They 'did' it at school. It ruined the work for them. Writerly analysis will never ruin a work for you - it should, rather, enhance your reading experience and enlarge your writing knowledge. You need to be able to discover and analyse how an author puts together a piece of writing - what tools and techniques he or she is using.

This year - as with every year - I'm keeping a reading journal. In that journal I make notes about important aspects of the books I read - sometimes I'll include quotations from the book to illustrate what I've noted. Sometimes I'll list other books by the author that I'd like to read or interesting biographical notes. A reading journal my mother bought on sale recently also has a section that asks what the reader was doing when she or he was reading the book - I quite like that as re-reading an entry with that chronicled can bring back a specific time and place, so I'll be adding that to my reflections.

Most of all this year, I'll be reading slowly - I got an e-reader for Christmas and I'm in love with the ability to make annotations on it. Having grown up in a secondhand bookshop I hate the idea of writing on an actual book - and highlighting a text? Never! But the e-reader gives me this opportunity without actually wrecking any pages, which is wonderful. It also allows me to easily look up any unfamiliar words - and I want to improve my vocabulary this year. As you age, your vocabulary narrows unless you're quite attentive. In this field I can't afford this to happen so I'm going to be vigilant about learning and using new words.

I'm also going back to memorising poems - I did this in 2009 and part of the way into 2010 and it was a wonderful way of analysing poetry - I had to really think about the order of the words and lines of each poem. There were poems I had loved which I loved less after the experience of memorising them - reading a poem over and over again made me very aware of any weaknesses in it - but there were also poems that became talismanic. Poem-amulets to hold against hard times.

Finally this year I'm also learning French - I learnt French throughout school and into university but I've gone back to the very beginning. My daughter and I are studying it at the Alliance. Learning a different language makes you much more aware of grammatical rules, the sounds of words and the structure of language. So I'm sure this experience will also influence the way I read. When you read texts in a language you are learning, you must read slowly - so it's a good reminder to slow down in English as well. The other advantage is that you must often read aloud - to hear the words. I'm taking that back to English texts and reading some passages aloud - even if it's only to the dogs! I read all my own writing out loud - it's a wonderful way of hearing what I haven't got quite right. Reading other people's writing aloud will help further develop my critical ear.

Last night I finished Shane Maloney's Stiff - his first Murray Whelan book. Maloney's dialogue is spot on - the world of Labor politics, grass roots and power-mongering gives him a rich canvas of different voices and jargons and he exploits that beautifully. The plot is nicely convoluted and although you never quite believe that Whelan can be as stupid as he often is, Whelan's a sympathetic character, sceptically idealistic and dealing with his own problems throughout. Good holiday reading! And also useful for anyone who wants to delve into mystery writing - Maloney is so obviously at home in the world he's portraying that there's no faltering in his voice of authority.

Must go and write up my reading journal!

Almost another teaching year!

Well - it's almost the beginning of a new teaching year and I'm making my teaching resolutions.

1. Anything done on line, from emails to facebook statuses and IMs can lead to communication misunderstandings. I'm going to try harder than ever this year to make all my communications with students crystal clear.

2. Students - like everyone - suffer anxiety about submitted work. This year I'm trying harder than ever to complete marking within a fortnight from submission date. This, of course, only works with assignments that are submitted on time.

3. I'm always urging students to read widely, attend writing and reading events, take themselves on artist's dates and generally immerse themselves in a reading and writing world. This year I'm urging myself to do all these extra curricula activities as well. It's very easy to feel swamped by work - particularly online work as it oozes over to evenings and weekends - you don't close the office door at 5.00 pm and go home. Sometimes, however, that swamped feeling is actually relieved by going off and doing something for your writing self - and that's what I intend to do this year.

4. Use the audio facilities on the Blackboard more - it's fabulous being able to leave voiceboards and podcasts and I was delighted when I discovered how easy they were to set up and use. But my enthusiasm waned as the year got underway and time seemed to vanish. This year I hope to post voiceboards and podcasts more regularly.

5. Explain more clearly how I teach - and how that teaching might change throughout the year as I expect more from students - this is related to Resolution One but I think it needs a separate resolution as it's an area that I don't think is always clear in the online environment.

6. Keep up my own writing! All teachers in the Professional Writing and Editing worlds struggle for a balance between their teaching profession and their writing profession. It's very easy to lose the writing self in the teaching self, but I'm working on two major projects this year and I can't afford to lose sight of them.

7. Keep up with blogging - I'd like to use this blog and the picture book blog to post extra exercises for you, as well as alert you to events, books or information about writers you might find interesting. Again, the year starts off with great intentions, but during crucial times - usually the marking season - the blogs tend to drop off. I hope this year is a little different.

Welcome brand new teaching year - and here's to making it an uber one!

Another list of books ....

A good list for summer reading! I was delighted to see that my reading crush of the moment figures!

Read all about it!

The Slow reading movement - join today! I suggest you buy a notebook and record what you read, writing out interesting quotes and passages, contemplating the way a novel or story or poem is structured and what that structure means to you as a writer. Get into this habit and improve your own writing in leaps and bounds!

What have we lost?

I've been reading over the past couple of days - beginning with The Summer Book by Tove Jansson. Jansson is better known internationally for her children's books chronicling the surprising adventures of the Moomin Family. The Summer Book, however, is regarded as a Scandavian classic - and with good cause. I'm not going to review it because I already have on my personal blog. But what stays with me after reading this book is the way Jansson makes what is unsaid as important as the actual conversations between the two central characters, Sophia and the Grandmother. Their interaction is subtly nuanced, the tensions and tendernesses resonate with their shared loss, but also with the reluctant knowledge that while Sophia is entering her life, the Grandmother is leaving hers.

I've also been re-reading Gerald Durrell's The Bafut Beagles. And while there may not be any immediate similarity between Jansson's quiet exploration of a shared summer and Durrell's far rowdier, crowded and eventful chronicles of animal collecting in West Africa, there actually is. It's a respect for language, a slower pace of writing and detailed observations of the surrounding world that gives both these books their authority.

It makes me wonder whether the contemporary emphasis on minimalism is really working for me as a writer. I'm going to spend some time over the next few months honing my own observation skills, extending my vocabulary and revising to strengthen images.

I suggest you join me in a holiday activity. Spend some time closely observing something you'd normally regard as ordinary - it could be new tulip leaves pushing their way out of the earth, or puppy antics or the way a member of your family concentrates. You might want to go further afield - take yourself on an observing excursion. Make notes. Then write a beautiful, measured page bringing your reader into the event or scene you've described. Revise it until each word is exactly the word you need. Consult your thesaurus. Consult your dictionary. Use at least one word you'd not normally use. Luxuriate in the slower pace.

Ask yourself afterwards whether or not you feel richer for the experience. Don't tell me it was 'awesome' or 'cool' or any other shorthand word!