Litopia – My Favourite Podcast
Redhammer literary agent Peter Cox presents my favourite podcasts in all the world, the tasty ten-minute Litopia Daily each weekday and the sumptuous 50-minute-ish Litopia After Dark at 8pm (GMT) on Friday evenings.
I’m not the only person who thinks these shows are brilliant. Litopia’s audience has been doubling every quarter until this summer, and Peter said recently:
Our audience figures are looking terrific for the quarter about to end. We had an audience of 6,500 for the previous period – with a few days to go, we are just over 18,000! I suspected we’d double, but trebling is amazing!
Litopia Daily usually has three short sections.
- Peter starts with something important to writers. On Thursday and Friday last week, for example, he and author Peggy Brusseau (Peter’s wife and occasional podcast guest, with whom he co-wrote 27 commercially published books before he became an agent) discussed How To Get A Literary Agent.
- In the middle section, US lawyer and author Donna Ballman brings us news relevant to writing and publishing.
- Writer Eve Harvey ends the show with her excellent Salmagundi Club: “a smorgasbord of items that will interest any writer – maybe some hints and tips, things I’ve discovered on the web, inspiring blogs, procrastination places, cool stuff for writers… etc.”
Litopia After Dark is a delightful show. Peter and his regular guests, Donna, Eve, and writer and lecturer Dave Bartram, are joined by a special guest each week. And they’re often pretty special!
Why don’t you check it out? I can promise you’ll find these shows an informative and enjoyable listen.
Conversation with your mirror
I’m stealing today’s idea directly from Sulz’s post of two weeks ago.
My contribution to her post was:
Mirror: You’re looking good again today.
Me: I know that. I’m a bloke.
Mirror: Beard’s getting a little bushy, isn’t it? You know Grizzly
Adams lookalikes get no two-person sex in this house.Me: Maybe this time she’ll change her mind.
Mirror: Did you see that pig fly past the window just then?
Wanna play?
“Ten Ways to Knit the Perfect Sweater” – and Other Feature Articles!
Steven Barley is a full time writer, parent and househusband but not necessarily in that order! He was recently taken on by the MBA Literary Agency on the basis of a humorous, narrative non-fiction book about his transition from City banker to domesticated househusband. He lives in Hertfordshire, England.
Hello folks. No, we’re not talking about knitting patterns today, nor are we trying to pull the wool over the eyes of commissioning editors for magazines and newspapers, but we are trying to grab their attention and hopefully make a little money to pay for our true novelistic tendencies. The theme of this post is how to get a feature article published.
I started down this route myself, and did all the research – attended courses, summer schools, picked the brains of successful feature writers and even spoke with the man down the pub – but then got sidetracked in my endeavours when I was asked to turn my articles into a book instead. But in this green age of re-use and re-cycling I thought I’d regurgitate what I learnt and pass it on to you.
So instead of ten ways to knit a sweater, here are six key tips on how to get your feature article published:
Learning how to write sex
For the past nine weeks I’ve been following a remarkable 31-part “how to write sex” course taught by urban fantasy writer Stacia Kane, who also writes erotic romance for Ellora’s Cave as December Quinn, and whose talent and wit help make her a superb teacher.
To let you taste the flavour of this course, here’s a paragraph from Stacia’s introduction:
No matter what, once your characters have had sex, their relationship changes. Irrevocably. Actually, their relationship should change with every conversation, every casual touch, every glance, every kiss, even if it’s not readily apparent. But it is impossible for your characters to have sex and not see each other differently afterward. And that is one of the “jobs” of the sex scene, to show that relationship actually changing…
I’ll be honest. When we started this course, I thought I could write sex scenes. I wanted to learn how to do it better, but I reckoned I didn’t do too badly already. After all, I’m a sexual human being and a writer. What could be more natural than combining two passions to create good sex on the page?
Well, it transpired that lots of things came more naturally to me. For example: telling rather than showing.
I know, I know. That’s one of the basic writing faults we all learn about early in our careers.
But it turns out that many writers “tell rather than show” when writing sex. I don’t know why others do it, but I was doing it because I was uncomfortable.
Which, again, is plain weird. I’ve tackled uncomfortable things before in my writing and working through them fine, and anyway, I’m very comfortable about sex. So what’s the deal, here?
Actually, I did know I had a problem with one scene I’d already written, but I didn’t identify the problem until the end of Stacia’s brilliant course.
It wasn’t that I’m uncomfortable writing sex, but that I was uncomfortable writing this particular bit of sex. This one is a love scene, a romantic “first time between these two” sex scene, a universe-rocking recognition of mutual love.
Oh, and there’s the complication of their psychic connection, which allows them to hear each other’s thoughts and feel each other’s sensations as well as their own. But I always saw that as a wonderful opportunity rather than a problem.
No. My problem was that I wanted their love to shine through, to make it much more than just sex, and it seems that desire made me uncomfortable about being too graphic.
I wrote it all wrong. Instead of exploring their wonderful love through wonderful sex, I showed their thoughts and emotions but told the sex.
I backed away from it.
On Stacia’s course, I learned not only how to engage with the sexual love, but also how to write it well. It’s an art in itself. And I didn’t have a clue. I didn’t even know enough to know there was stuff I didn’t know.
I do know I’ll return to Stacia’s course content again and again, and I recommend it to you. It’s simply the best How To writing course I’ve ever experienced. Part 1 is here.
I’ve cross-posted this article to my Writing Journal and placed my rewritten sex scene under a Friends-only cut. I do it this way with all my excerpts, to protect against theft and maintain first rights. You’re all welcome to Friend me there, if you’d like to read snippets of my work in progress.
Hearts and Minds competition result!
Rosy chose two names out of a hat this morning, and the winners are…
Kate and Suburbanlife
Congratulations! You’ve each won a copy of Hearts and Minds!
I’ll email you both today.
How do you deal with rejection?
No, really, I mean you. I think I deal with it fine, but just lately I’ve heard from several writers who seem to struggle with it. So here are some quick thoughts from me, then it’s over to you.
I’ll start with definitions. What is and isn’t rejection?
What isn’t rejection?
Crits aren’t rejection. The only way they could be considered to be rejections is if they’re personal. And they’re definitely not personal. They’re not aimed at us, the writer. They’re aimed at the specific piece of writing they’re addressing. If they are personal, file them under B for Bin. They’re worse than worthless. Pay them no more attention. But don’t, for goodness sake, take a crit personally when it wasn’t written that way. It’s isn’t about you.
If a critter misses the point of the piece completely, or brings her own issues to a piece that doesn’t deserve or need them, file them under B for Bin. Probably. Possibly. Or, maybe better, study their crit anyhow and look for nuggets of wisdom hidden among the rubble of misunderstanding.
Most crits are neither personal nor complete misunderstandings. Most of them are valuable, and some are worth their weight in gold. The art of giving and receiving crits graciously is an essential skill for writers.
What is rejection?
Rejection is an agent or publisher saying, “This isn’t for us.”
That’s it. And that’s all they’re saying. They’re not saying, “you can’t write” or “this is crap” or anything else like that. Maybe you can’t and maybe it is, but that’s a different issue entirely and they’re almost certainly not saying it. They don’t normally have time to say that kind of thing, anyway, so why torture yourself by inferring some message that was never implied?
What is an agent’s rejection, really?
I’ll tell you what they are to me. They’re stepping stones to my Perfect AgentTM. Simple as that.
My way?
My way of dealing with rejection, then, is to get over it and get on with the job. I think that to do otherwise is to walk a dangerous path to unhappiness and instability.
How about you?
Feel the Love: How Giving and Receiving Critiques Will Improve Your Writing
How do you get inside a character’s head?
Psyche Opening the Door into Cupid’s Garden – John William Waterhouse
Rebecca Laffar-Smith asked me this question. Here’s what she said:
My number one protagonist is Tori, and I’m really connected with her. But I can’t quite get inside the head of my second protagonist, Lucas. That makes him weaker in the whole book and I need to get to grips with him for the rewrite. When I write scenes in Tori’s point of view, it’s easy. It flows. She does all the work. Lucas is stilted, like I’m dragging him through the mud. How do you get inside a character’s head?
I reminded Bec about my series on getting into the head of an unpleasant character and suggested that procedure should work for Lucas, but she said she’s tried that method.
Okay, then. In that case, I’d take Lucas off somewhere out of this specific storyline and encourage him to talk to you in his own voice.
How about an exchange of letters between you and him, perhaps? Or even emails?
Get him to relate a scene from his life in his own words? Again, this might work best for you if it’s something unrelated to the story.
Have him write a daily journal for a week or two.
Choose some aspect of his past experiences, or one of his dreams for the future, and interview him about it.
Anything to get him talking to you.
Can anyone help Bec out, here? When a character is giving you problems like this, how do you get inside his head?

























































